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Stan's betaBlog: media marketing communications culture
Monday, 20 October 2008
Election 08: Proof advertising works - and negative election ads work best
Topic: Advertising

Stéphane Dion did as expected this afternoon and called it quits as Liberal leader less than a week after leading the party to its worst electoral showing ever and less than three years after winning the leadership.

It was quite the historic blow out, obscured in its enormity only by the fact that the Conservatives failed to win a majority at the same time. And really the outcome of this fall’s national vote was determined long before it was officially called in large part by the aggressive negative advertising from the Conservatives positioning Dion as weak leader. It wasn’t pretty, but it was masterful.

I’m not talking just about the summer-long radio campaign mocking Dion’s prized central platform plank, the Green Shift. The Tories started running those ads mere days after the Green Shift was unveiled in June. (If you don’t listen to drive time commercial radio you missed it-but if you do, you couldn’t miss the fake call-in show spots where just-folks savaged the policy and Dion as a joke).

No. The Conservatives were running “not a leader” radio spots with in months of Dion taking the Liberal leadership by default in December 2005. These were ham handed, hokey messages, hammering at Dion on several fronts. I did a series of CBC radio interviews on the unprecedented non-election period political ad campaign back in the spring of ’06 and the hosts invariably asked/stated, in effect, ‘there’s no way stuff this blatant and transparent works, right?’ But, I had to assure them, yep, it does. Especially if there’s a vacuum of information about the leader, as there was then about the then still relatively unknown Dion. Especially if the ads go unanswered. And these ads were never answered. Not even in the campaign.

Acting as the clichéd rational intellectual, Dion apparently never considered there was a need to deign to refute or even acknowledge such ridiculous statements and claims. So the Tories got to define Dion, and the central leadership question long before calling the vote. Save for a few days there after the worst of the market machinations and Stephen Harper’s empathy lapse, the result was never really in question-just the exact extent of the loss for the Liberals.

On the flip side, it’s clear the Conservatives fumbled in not doing enough to position their own guy all those months in advance. Sure, by not turning into wild eyed barbarians while in power for more than three years, the Conservatives had positioned themselves as more centrist than expected-but the lingering fears of what they do with power unfettered by minority status were enough to hold them back. And the perception of Harper as a control freak with a nasty temper was never really countered.  (And here again, on the negative-advertising-works thesis: the most effective opposition statements and advertising tapped into those pre-existing concerns.)

That said, the Conservatives nearly pulled off the cardigan-clad typical suburban dad positioning of Harper in their early post writ spots. Fifteen seats shy of a majority is tantalizingly close. That’s just eight seats going the other way- something  easily achieved if a couple more suburban Ontario ridings tipped their way and the impressive gains in popular vote even in 416 Toronto had translated into wins. And if they been able to make a significant breakthrough, as they seemed poised to do, in Quebec, there’d have been no stopping the Tories. (In my view, Harper’s sneering shots at the whining arts elites did in fact work - in English Canada. But in Quebec, where culture is seen as something actually important and central to identity, the BQ was able to use Harper’s gibes to position the Conservatives as les autres –outsiders who don’t get “us.” )

I always find it almost endearing, if not frustratingly naïve, when commentators and reporters whip them into a frenzy at the first hint of a dread NEGATIVE POLITICAL CAMPAIGN AD. It happens every election without fail. It’s like they somehow believe that if it wasn’t for those awful advertisements from parties saying mean and nasty things about their opponents, elections would be the reserved, reasoned high minded affairs they were meant to be and all platforms and policy would be debated earnestly and nary a harsh word would be exchanged.

Come on folks. Get a grip.

Our elections are intended to be nasty affairs –a substitute for the truly nasty stuff that armed conflict brings- in which everyone takes their best shots -over and over again-  and the participant with the fewest bruises at the end is generally declared the winner. Advertising merely crystallizes the lines or argument in their simplest terms. Frankly, anyone who can be sunk by a catchy slogan and a couple of cheap shots in 30 second broadcast spots doesn’t have what it takes to be a leader who can marshal the hearts and minds of a nation. They shouldn’t win.

Stéphane Dion can whimper all he likes about being done in by “propaganda,” but whose fault is it that the other guy's message stuck better than his?

Advertising, of course, does not work in a vacuum. It is most effective when it syncs up with the actual product offering. And negative election advertising, works best when it taps into existing mindsets. The Conservatives won the positioning and advertising wars in election ’08, but weren’t quite good enough at it to take home all the marbles. A maimed Liberal party, and a not-quite-enough-for-total victory Conservative win, feels about right.


Posted by sutter or mckenzie at 9:45 PM EDT
Updated: Friday, 24 October 2008 9:37 AM EDT
Wednesday, 14 November 2007
Reviewing Labatt
Topic: Advertising
Some passing thoughts on the latest Labatt Breweries agency machinations.

Marketing Daily broke the story that the brewer had awarded Grip Ltd the Bud and Bud Light accounts, and essentially fired its other four agencies late last week (and the Globe and Mail followed up –finally- yesterday with a piece saying, with a few nuances, the same thing). Meanwhile, it has bundled its “lesser” brands into one assignment and invited some, although apparently not all, of the incumbents and some other agencies to pitch for the business.


Out big time is Downtown Partners, the DDB Canada satellite shop that had handled the Bud brands for the past seven years and also Keith’s for much for that time. It apparently hasn’t been invited to the pitch, which is a huge blow as Labatt represented 35% to 40% of the 35-person agency’s business. There’s serious talk that the shop will close or be folded into DDB Toronto, which has people seeing parallels to the last time Labatt made similar –some would argue unfair- agency moves. Back in late 2001 it awarded most of its work to the start up superstar creative shop Grip –staffed by the cream of the creative departments of most of the then Labatt roster shops–, which kick started the death spiral of its then lead shop Ammirati Puris. (For a blast from the past you can read my obit for Ammirati from 2002 here.)

First, the comparisons to 2001 are exaggerated. After all Labatt hasn’t hypocritically denounced the entire ad agency business model this time as justification for its move (for another blast from the past, you can read my column from November '01 about that here). Although, that said it’s reported invitation –demand– that incumbent shops show up and give a 15 minute presentation as to how they still add value and thus why should be retained –apparently reduced to 10 minutes for some on the day of– demonstrates that respect and partnerships are still foreign to the vocabulary of beer execs when it comes to dealing with agency “suppliers.” (That too isn’t exactly new. As Gary Prouk put it to me in an e-mail the other day, and to others: “working for Labatt was like doing hard time in the slammer with an insatiable giant cellmate called Bubba.” If that sounds bitter, he has every right. Gary led an agency, Scali McCable Sloves, Toronto, that got sideswiped not once but twice by Labatt’s agency schizophrenia, the last time in 1994 when Labatt gave almost all of its work to the then tiny and virtually unknown Toronto branch office of New York’s Ammirati.)

It’s notable that what didn’t happen this time is the lead Labatt agency didn’t get sacked. In fact, the shift is a ringing endorsement of Grip, a shop that many predicted would implode within a few years if not months of its founding. It’s six years going on seven folks, and Grip is still hanging in there as lead shop on the Labatt flagship brand. This counts as significant stability in the beer ad game. Ammiratti got a whole eight years with Blue, and Scali half that (let’s not go into JWT, which held the Blue brand business for decades before the still legendary 1985 review –won by Scali- that some suggest was the start of beer marketing madness in this country).

What’s changed here is that Labatt has finally acknowledged the sad reality that, after nearly 40 years –and two decades of slow decline- , Blue is no longer its flagship brand. The brewed here CanAm versions of Bud are now its flagships. So the hotshots at Grip now have the most important job for Labatt again. And in a sense, Labatt has gone back to its past with this move. After all several of the original key creatives on the Bud Light Institute, including David Chiavegato and partner Rich Pryce-Jones, are still Grip partners.

Once again, although not as badly as in 2001 when it lost its president to Grip, Roche takes an unfair collateral hit by these changes. The agency’s work for Stella Artois has done gangbusters at global and domestic ad shows this year, and more importantly the brand share has grown steadily here. Yes, they’ve been invited to the pitch, but judging by his comment Geoff Roche doesn’t think they have much of a shot.

As for Downtown, it does all seem so unfair. It was –is- a very good shop that did a lot of great work for Labatt and other clients. And it was the client, after all, that opted to shelve the popular Bud Light Institute campaign in 2005 and directed the agency to ape the successful (though less fun and intelligent) Coors Light creative model. Canadian beer advertising, not just Bud’s, hasn’t really had a spark since.

But the agency also knew it was overly dependent on the whims of Labatt management. It knew it had to diversify its client base, but never quite managed the task. I remember sitting on the Ritz terrace in Cannes with Tony Altillia, probably in 2003, talking about how as clients were becoming more demanding and fickle a lot of very good agencies, including the one he was running, were only just an account loss or two away from oblivion. We’d got on the subject in a there-but-by-the grace-of-god conversation about Ammirati actually. In light of events this month, Tony’s somewhat surprising early retirement from the Downtown CEO’s job in September takes on a new hue. Not that I have any evidence he knew what was about to come down, but I’m sure as the consummate account guy he is Tony could tell which way the wind was blowing.

Two final related streams of thought.

I’ve done a lot of referring to “historical” events here in talking about current events. I realized as I was typing that I felt nostalgia for a time when the beer business, and beer marketing, mattered more in this country. I think no one would disagree that the stakes just aren’t as high in the beer game as they used to be. And certainly it doesn’t seem to be any where near as much fun. I’m guessing part of that, though not all of it, is due to the fact that big two brewers are now effectively controlled off shore. I guess the next question is when will Molson give up on Canadian as its English market flagship brand too.

The other thought is just how little buzz there is about this in the media. Marketing Daily played it big, but seven or eight years ago both national business papers would have been all over this story–probably first–with multiple days of coverage. The Globe took a couple of days to get on it, and the Financial Post to my knowledge hasn’t covered it yet (nor surprisingly has Strategy’s Media In Canada). That may say more about the daily business press’s resource issues, but it also may also say something about the decline in importance of marketing and advertising-and not just for beer-in the business mix.

Posted by sutter or mckenzie at 8:45 AM EST
Updated: Tuesday, 27 November 2007 7:46 PM EST
Thursday, 8 November 2007
Cassies 07: TV still rules, but for how long?
Topic: Advertising

It was a telling juxtaposition at the Cassies event in Toronto Tuesday night. Guest speaker Bob Garfield got up and predicted the demise of the advertising industry as we know it. Then the main event was awards for 39 mostly traditional ad campaigns that had proven to be effective in generating real business results. The future of marketing does promise to be dramatically different, but it seems the tried and true methods still have some life in them yet.

Bob Garfield is the well-known ad critic for U.S. trade weekly Advertising Age, and less well known here as cohost of the U.S. National Public Radio program "On the Media." And like many observers of the marketing and ad world –myself included-, he believes that the rise of the web, consumer generated content and the like has driven a true shift in the power balance from sellers to consumers. In his view, the 30 second TV spot with massive media buys is done as an effective marketing vehicle. People can and will tune out boring and irrelevant messages better than they ever could before. The old one-way dialogue between marketers and their customers is over, and unless companies start really listening to what customers are saying –and acting on what they hear- they are doomed (although I think he used the f-bomb a couple of times to make the point). Indeed, Garfield’s next book is apparently to be called “Listenonomics.”

Garfield has no time for the argument that the ad agency business is actually sitting pretty in the brave new digital world because its strength over the last 50 years has been the creation of short form entertainment content. I’m paraphrasing here, but Bob’s response was something to the effect of: “Excuse me, but don’t most people consider advertising to be the shit that gets in the way of the content they want.”

He gleefully showed a slide of Sir Martin Sorrell side by side with Peter Sellers’ Dr Strangelove (they do look separated at birth). And he mocked the WPP chair’s famous statement that the web is just a new “media channel” that will some day cease to be new and settle in amongst all the old media channels without truly displacing any of them. “The web isn’t a channel,” Garfield proclaimed. “It is fire. It is the wheel… It changes everything.” And anyway, Garfield added that its notable that notwithstanding what he’s saying, Sorrell has actually been steadily diversifying WPP’s portfolio so that in the not too distant future advertising and media services will account for less than a third of its revenue stream.

So if advertising as we know it is dead, what’s with all those Cassie winners that seem to have been driven primarily by TV spots?

Part of it is just the nature of awards show presentation formats. You need something to put on the screen for the audience, and if you have moving pictures as a part of the marketing mix you use them. So some of the winners are more than the just TV executions shown.

But that said the reality is a lot of the winners at the 14th Cassies did indeed rely primarily on TV to do the job.

Exhibit A would have to be the single 30 second TV spot that DDB Canada did for Clorox’s Brita water filters, which won two gold Cassies. You know the one where the glass of water on a kitchen table rises and falls when you hear the flush of a toilet off screen. Sales rose 57% in the year after the spot started airing, causing Clorox VP general manager Douglas Macfarlane to declare in the case submission: “I have never seen such great result so directly related to the advertising in my 20+ year career.”

The Pepsi campaign from BBDO and the Telus campaign from Taxi, both of which won gold in the sustained success category, were also almost entirely TV dependent (the Telus critters maybe less so). So too was the incredibly bloody gold winning campaign from Montreal's Amalgame for Quebec Road Safety that ran this spring (and appears to have contributed to a 36% reduction in highway fatalities during March and April).

However, I’d suggest that the rush to web-driven marketing programs and things like consumer generated content and customer co-creation is still a really recent phenomenon, and there will be more of them represented in future Cassies.

Regardless, I’d argue that the two other big winners at Cassies 07 support Garfield’s contention that the marketing world is irrevocably moving on from the 30-second spot.

The campaign for the Dermatek Pharmceutiques anti-aging skin product line Reversa from Taxi’s Montreal office, which won a gold and silver -on top of it's gold Cyber Lion at Cannes-, used print ads that directed readers to go to the seemoresideeffects.ca micro site. There, the target consumers, 40-plus “cougars,” could along with learning about the product view up to a dozen humorously lascivious videos featuring hunky young males. Six month sales volume after the campaign broke rose 31%, versus the historical 2%-3% growth rate.

And –no surprise here– the Grand Prix Cassie went to the Dove “Real Beauty” campaign from Ogilvy & Mather, which included the 90 second “Evolution” video that has been widely lauded –by even Bob Garfield I think- as one of the best examples to date of online viral video and buzz exploding into mass consciousness. You’d think there’d be little left to say about the Dove ad. But it seems in addition to more than 10 million YouTube views, $150 million in estimated earned media value in the U.S. alone and gold hardware from just about every major ad award show on the planet, Dove sales in Canada climbed sharply after the “Real Beauty” effort began in late 2004. Sales had seen a respectable 3% growth in 2004, but spiked 18% in 2005 and went up another 12% in 2006.

In his thank you remarks, Unilever Canada VP marketing Geoff Craig directly referred to how the campaign fits into Garfield’s brave new marketing world. He promised that the next phase of Real Beauty would get even more intimate and interactive with consumers and include things like gaming.


But you gotta know companies like Unilever aren't going to be giving up TV completely any time soon. And when pressed, I'm sure even Garfield would admit he exaggerates to make his point (after all, he's still reviewing TV spots every week at Ad Age). He has a bit of a shtick to perform and every good speech –or column- needs to have a bit of drama. A perhaps overstated threat of doom and gloom does make for a better storyline. So yeah, I certainly believe, and the Cassies this year certainly prove, that the old TV spot no doubt will be around for a few more years.

But –and this is a big but- just because TV ads with mass media buys will continue to be proven effective, that doesn’t mean that more targeted ad formats that allow for greater consumer interactivity won’t prove to be even more effective. And more cost effective.

Either way, I suspect ad awards competitions like the Cassies that focus as much if not more on results and effectiveness as on creativity will become even more important in debating and resolving questions like this.

By the way, you can see all of the 2007 Cassie winners cases at the Cassies.ca website.


Posted by sutter or mckenzie at 9:14 AM EST
Updated: Friday, 9 November 2007 9:47 PM EST
Wednesday, 31 October 2007
The "Truth" is still out there
Topic: Advertising


The barrel of monkey productions video got me thinking about its ancestor “Truth in Advertising.”


This video was to be shown just once at the Marketing Awards in 2000 (good lord, that long ago!), but the buzz carried it around the global ad scene and ultimately to Hollywood where it was optioned at one point for a sitcom.
It was remarkable really. Remember, we’re talking the days before online video and the instant buzz it can create became commonplace. I won’t say it made the careers of director Tim Hamilton and his co-writer David Chiavegato (then at Palmer Jarvis DDB, now at Grip Ltd.) but it certainly solidified their reputations and took them international.

It was near impossible to even see the film for a long time after a second official screening at the Cannes Ad fest in 2001. The producers cut a deal with ACRTA to get some top notch Toronto comic actors at next to nothing based on the promise that the production would only be seen at an ad awards show once and never broadcast.  A couple of copies were apparently passed around clandestinely for a time like some Soviet era samizdat novel.

Then, of course, Youtube happened. It popped up there last year, where the full 12 minute version has been viewed almost 140,000 times and shorter segments almost as many times. (And clearly the actor's rights fees were worked out, as you can also now buy it for $30 on Amazon).

While some of the the current phrases and in jokes from the turn of the century feel a bit dated now, the core premise of "Truth" –that all the people involved in the creation of a hack TV spot cheerfully say out loud their most venal and cynical thoughts about each other and the process– is still fresh. It’s also still shockingly offensive –you’ve been given the extreme parental guidance warning on this now. And it is very, very dark, and very, very funny.


Ironically, "Truth In Advertising" may well be one of the best examples of branded content in action that I’ve ever seen. It worked so well that its target audience, young ad guys and girls, didn’t notice –or mind, if they did- it was really a long form commercial for its producers, Toronto’s Avion Films.



Posted by sutter or mckenzie at 3:15 PM EDT
Updated: Wednesday, 31 October 2007 3:25 PM EDT
Monday, 29 October 2007
Just another word for nothin' left to lose
Topic: Advertising

My good friend Gary sent along this little film, which takes the desire by clients to get "added value" for money in commercial production to ridiculous extremes - only it may not be that extreme any more.

It certainly sheds a different light on Chris Anderson's case for "free" as the business model of the future (see my Oct. 18 post).

 


Posted by sutter or mckenzie at 1:34 PM EDT
Updated: Monday, 29 October 2007 1:50 PM EDT

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