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Stan's betaBlog: media marketing communications culture
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, 7 November 2007
What Ken Shafer learned
Topic: Online marketing

Okay, one last take from the CMA Digital conference.


I really enjoyed Ken Schafer’s fun, fast but deceptively substantive slide show during the Pioneers panel, “Ten things I’ve learned in the past 10 years”. Ken is now VP marketing at Tucows, and he truly has been a pioneering leader of the online marketing industry in this country. Among other things he was founder of AIMS, drafted the CMA code of online marketing ethics and created the online marketing social community OneDegree.ca. He’s always been a leader and generous mentor in the Canadian digital space.

Here are Ken’s top ten lessons from the past decade:
1.    Pioneers = Arrows in the back (still, you’ve got to get in early)
2.    We over-estimate (“once we see its possible we assume it is happening soon”)
3.    We under-estimate (Google… who knew the impact?)
4.    Punk rules (online is a DIY culture… just do it)
5.    We’re all in this together (you gotta “give back”… get involved in AIMS, IAB, CMA, OneDegree.ca)
6.    The Internet…it’s people
7.    Be a gardener …not an architect (it’s organic…find the natural paths…move things according to the sunlight)
8.    The future is now (“the future is here, it’s just unevenly distributed” –William Gibson. Try to live there –the future- as much as you can so you see where things are going)
9.    We are not our kids (“I’ve lost my ability to get my arms around the whole” online space… my kids are learning so much faster)
10.Don’t give up (“for every boom, there’s a bust…it’s gonna collapse at some point” again but “maybe not as bad as last time”)

And the three things Ken looks forward to in the coming years:
1.    Web-first marketing (campaigns developed from a web platform first rather than broadcast or print- its starting to happen and will happen a lot more)
2.    Be simple (the KISS rule applies… “the more we simplify, the better off we’ll be”)
3.    Wtf? (there will always be something else coming along that makes you stop and say…)

Re-reading my notes here
more than a week later some of it looks kind of vague and elliptical. But I'm sure you get the gist. You can hear the full fleshed out version of Ken’s top 10+ (minus the 56 slides-sorry) here.


Posted by sutter or mckenzie at 12:40 PM EST
Updated: Wednesday, 14 November 2007 2:28 PM EST
Innovation and reality
Topic: Marketing

Some final thoughts on the CMA Digital Marketing Conference. Yes, it wrapped up almost two weeks ago now, and yes there were as usual at this kind of event a few weak brag-and-boast sales pitches (come on down Facebook and Heavy), but some of the sessions are still reverberating in my mind.

The clear buzz generator of the conference had to be the keynote, titled “Innovation in action,” from RBC‘s Dr. Anita Sands. I didn’t speak to anyone who was not excited by it. I suspect the reason is her refreshing real-world view of and advice on how to drive innovation in environments that are not Google or Cirque du Soliel-i.e. where most of us mortals have to get by day to day.

Dr. Sands knows of what she speaks. As “Vice-President, Head of Innovation & Process Design, Global Technology and Operations” –now there’s a mouthful- at the country’s biggest bank, her mandate is “to ensure that innovation is core to everything at the organization – from new product development to the introduction of new technologies and business processes.” Easier said than done in an organization with 70,000 employees operating in the highly conservative, highly bureaucratic and highly regulated financial services industry.

Dr. Sands is not a marketer. She is, as she matter-of-factly put it, “a rocket scientist.” (No kidding: Her bio says she earned a Ph.D. in Atomic and Molecular Physics from Queen's University of Belfast; and she’s got a host of other science, math and management and public policy credentials too). Frankly at times, her talk made my brain hurt. But it was definitely stimulating and challenging… and in the end pushed a very simple message.

Essentially it was this: the most useful innovations are most often the small and incremental ones. Innovation and invention are often confused. Marginal improvements that add real value to an organization, and ultimately its customers, are more realistic to implement and can mean more to the bottom-line than more ambitious (and costly and risky) totally new and transformational innovations. (OneDegree has posted a short video interview with Dr. Sands taken right after her talk that sums this up nicely.)

One simple example of this “power of small improvements” world-view in action: Heinz‘s move a couple of years ago to turn its catsup bottles upside down. It made the product more useful to the customer and pumped sales volumes up with just a small change to the package that cost next to nothing to implement.

In the case of RBC, Sands says, the bank is trying to drive its “client/customer first” positioning through every aspect of the organization. So when it comes to any innovation, it is looked at through the prism of “how does it add value for the customer.”

For someone who professes not to be a marketer, Sands does speak the language. Communications, customer empowerment, transparency are all among the tools to developing an innovation culture she says.

The biggest key to getting an innovation culture rolling, especially in large organizations, is building cross-functional communications. Sands notes RBC is trying things like wikkis, peer-to-peer intranets, internal blogging and videocasting to get staff in different silos communicating and cross-pollinating ideas. It’s a big job. Sands admits that RBC is still only taking baby steps on most of those fronts. But that fits with the “do-learn-do” model of continuous incremental improvements on the fringes she champions.

Sands argued that getting lots of new ideas isn’t –or shouldn’t be- the challenge. It’s actually implementing them and then measuring their impact that is really hard. RBC has set up an “Innovation Lab” under her direction where every major innovation idea, whether proposed internally or externally, is tested and explored on two fronts: will it work, not just anywhere, but within the RBC environment and; can a real business case be made for implementing. In that sense, she defines the essence of her role, and innovation itself, as the “art and science to connecting what’s possible to what’s valuable to the customer.”

The ultimate benefit of an innovation driven culture, argues Sands, may well be in attracting and retaining talent. A bank, for instance, needs to be able to “execute flawlessly” and you need good people to be able to do that. A culture that empowers and encourages its people to be innovative in all they do is definitely going to have an edge over a closed command and control culture.

Innovation does not happen by accident, Sands said at one point. It is hard slogging. But really I think her evangelical enthusiasm for the almost Sisyphean challenge of instilling innovation into the DNA of a company like RBC was what was most engaging and inspiring about her talk.


Posted by sutter or mckenzie at 12:02 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
Thursday, 25 October 2007
Digital Marketing Pulse
Topic: Online marketing

Steve Levy, president, market research eastern Canada, for Ipsos Reid, presented some good crunchy data on the state of digital marketing in Canada at the the CMA Digital Marketing conference yesterday.

The findings of this second annual study for CMA was based on an online survey of of 161 marketers and 68 agency people and qualitative interviews and focus groups with industry leaders.

Bottom line: there has been progress, but marketers are still not embracing digital marketing like they could. 

Here are a couple of audio clips from his presentation. The first one is the eight best practices revealed by the study and the second is Levy's summary comments.

The results will be posted on the CMA's site, apparantly later today.


Posted by sutter or mckenzie at 11:50 PM EDT
Updated: Friday, 26 October 2007 12:17 AM EDT
Digital marketing: it's over, it's done
Topic: Online marketing

Got a kick out of Chuck Porter’s opening keynote at the Canadian Marketing Association’s 10th annual Digital Marketing conference in Toronto this morning. The chair of the Miami (and Boulder, Co. and L.A., and now apparently London) based ad shop Crispin Porter + Bogusky started things off by declaring of online marketing “it’s over, it’s done.”

He was only kidding-sort of.

CP+B, which is part of the MDC network, may not be the sizzling hot shop de jour it was a couple of years ago, but it’s still a pretty happening operation. And its big claim to fame still is that it is almost entirely media neutral in its approach to advertising. Hence, it has been the “traditional” ad shop most at the forefront of buzz and interactive marketing. Think subservient chicken.  

The shop doesn’t worry or care about the latest technology or online flavour of the month, Porter said. “The audience is going to tell us where technology is going to go. Whatever the audience wants to do, we’ll find a way to be there.”

Porter quickly discounted several of the hot marketing trends and buzz words like branded content (who is actually doing it?), user-generated content (“its going to go away”), the “third screen” (“it’s cell phones”), the death of the 30 second spot (“it’s an urban myth”) and social networks (trying to market through them is “sorta like digital Tupperware parties”). He did, however, laud “viral” –especially the online driven variety- as the most important tactic in the marketing arsenal.

And that’s not just because it’s free (although, clearly, that nice). More importantly, successful viral campaigns always are driven by “the power of the story.” Porter quoted someone he called the first great digital marketing theorist, Plato, who said, probably around 350 BC, “there is no learning without emotion.” People remember stories, whether fables or ads.

That said, Porter also noted that times have never been better for delivering “pork chops at $2.99 per pound” advertising–that is, messages that reach the right audience, in the right place, with the right offer at the right time. He likened these kinds of messages to old school direct marketing, but with even more precise testing and measurement. And he predicted that the current U.S. presidential cycle, in which all the campaigns teams are staffed by DM experts, will launch a wave of break throughs in “scientific digital marketing”.

This divide between the “story telling” advertising that surfs on pop culture and hard science-based marketing is very real. Porter’s comments got me thinking about the campaign that was the subject of my last post, Dove’s “Evolution” spot.

It’s been a PR and buzz marketing phenom and won top awards everywhere, including two grand prix at Cannes. Yet, it caused an intense debate among jury members at this year’s Digital Marketing Awards announced earlier this month. The judges reportedly argued for more than two hours over whether “Evolution” was a “real” digital marketing effort or just some really cool film that happened to air primarily on Youtube (and viewed at least 10 million times there alone in the past year). They ultimately, and correctly I think, named “Evolution” ’07 DMA Best of Show.

But for digital marketing purists, this is something of a flashpoint. The rush online in the last few years of old school ad agencies that seem to view the web as only a more free form forum for their TV spots is extremely grating. Online marketing can and should be so much more that just TV ads on your computer, they argue.

They’re right, but Porter is righter.

In the end, it’s not about the latest cutting edge technology. It’s about telling a good story in a way that engages consumers somehow.


Posted by sutter or mckenzie at 11:24 PM EDT
Updated: Friday, 16 November 2007 8:50 AM EST
Monday, 22 October 2007
Evolving Evolution
Topic: Ad review
“Onslaught,” the sequel to the Dove “Evolution” commercial was rolled out a couple of weeks ago to great acclaim. Much of the praise no doubt had to do with the general surprise that if the folks at Ogilvy & Mather Toronto and Unilever Canada didn’t manage to top last fall’s much awarded viral phenomenon, they came far closer than could reasonably be expected. And I say that out of praise of the “Evolution” spot rather than any dissing of the new one, which I actually like more in a lot of ways.


“Onslaught”  is certainly edgier, with its alt rock soundtrack ("La Breeze" by the English group Simian) and flash cuts to the near-porn typical of sexy beauty product ads. The split second images of cosmetic surgery procedures, and a woman purging in a toilet, are downright creepy and the final copy line “Talk to your daughter before the beauty industry does” is a more blunt call to action. There’s nothing subtle in this one. Although really “Evolution” was hardly subtle either. It just had a more under-the-radar approach that was perhaps more subversive but also more accessible by being less preachy and more friendly. I was comfortable watching that one with my daughters. This one less so.

That’s not to say that “Onslaught” isn’t a great piece of film and advertising. If it had come out before “Evolution” it would probably have a bigger impact than it will. But there’s no way it would have had a bigger impact than “Evolution.” That was a lightning strike that can’t be repeated.

And there’s part of the challenge for Unilever. What to do next?

You can see, even in the praise of “Onslaught,” a backlash against the Real Beauty anti-brand positioning starting to emerge. Ad Age ad critic Bob Garfield, even in giving the new spot four stars, notes the hypocrisy of Unilever in adopting the positioning and its increasingly overt criticism of its competitors’ tactics . This is the same company, after all, that is responsible for the young male body spray Ax, and its over-the-top innuendo-laden marketing aimed at hormonally amped-up pubescent males of all ages. And in the end, Unilever is a charter member of the beauty industry’s century-plus efforts to sell soap and beauty products to women –and men- by making them uneasy about their bodies.

There’s a lot of mixed feeling about the Real Beauty campaign in marketing circles. Yes, there’s a pride in its noble goals and brilliant executions. And there’s a “wish I’d done that” jealousy. But there’s also an almost anger at the doublespeak and righteousness inherent in the campaign. Check out the comment by Bensimon Byrne chief Jack Bensimon posted in response to Garfield’s “Onslaught” review. “It's not the future of advertising, but the end of it,” Jack writes. “Once you've indicted the entire profession for the benefit of a single participant, there is nowhere else to go.”

The Real Beauty campaign and the Dove self-esteem fund are ultimately not PSA programs. They are about positioning Dove soap on the side of angels. And some day, especially if sales stagnate, Unilever managers may up and decide ‘that’s enough of that’ and move on to something else.

No one hopes that day comes soon. And fortunately Ogilvy has done such a marvelous job that it will be extremely difficult for the client to climb down from its high minded positioning–even years from now.

Real Beauty has created a tight box for the Dove brand, and really the entire ad industry. That’s probably not a bad thing. But inevitable the pendulum will swing. Then what?


Posted by sutter or mckenzie at 2:44 PM EDT
Updated: Wednesday, 7 November 2007 12:45 PM EST
Thursday, 18 October 2007
Rockin' in the Free world
Topic: Media

From Radiohead to the New York Times, the winds of freedom seem to be blowing through the World Wide Web these days. And Chris Anderson, the Wired editor and author of the big-think business book of the moment The Long Tail, predicts they are going to blow a whole lot harder.

I caught Anderson’s talk at the Éditions Infopresse 360 conference in Montreal earlier this month, and just about every day since its been hard not to see news reports and announcements that don’t bolster his argument that information and entertainment content will soon be almost universally free. Anderson, in fact, says his next book will be called “Free” and he’s trying to sort out with his publishers how to distribute it, or at least a version of it, for free.

To me the Times announcement in September that it would cease having paid subscriber-only sections of its site and allow all comers access to everything gratis was a watershed moment for online media. When America’s journal of record gives up on its decade-plus long efforts to make Internet uses pay for even some of its premium content, you know something big is afoot. Anderson foresees the day that even The Wall Street Journal, widely considered the most successful of old-line media entities at getting users to pay for online content, will ultimately follow.

The 360 conference, by chance, was held the day Radiohead released its latest album, In Rainbows, online with a much ballyhooed pay-what-you-want -or nothing at all if that’s what you want- model. So naturally the state of the music industry was exhibit (Kid) A in Anderson’s case for the inexorable rise of “free” online.

It’s Anderson’s contention –and one that is hard to fault with- that the total music “industry” has never been healthier, especially if you include the sales of digital music players like the iPod. More music is being released and consumed by more people, and in greater varieties, than ever in the past. There’s lots of money flowing around the music industry yet, it’s just that the folks who used to reap the lion’s share of it aren’t doing so as easily any more. Now that the big labels no longer have a monopoly on distribution channels, any niche artist can get their material into the hands of listeners. Few of them are making a killing financially –at least in selling music-, but a lot of them are doing pretty well by increasing their exposure and earning revenue from other sources such as concerts, or special premium priced limited edition pressings or enhances DVD packages. This is Anderson’s “long tail” theory in action.

Radiohead hardly qualifies as a niche band –even if it is without a major label record deal these days– but it has definitely embraced alternative distribution and marketing tactics with In Rainbows. It seems to have paid off quite nicely. The first week saw the equivalent of 1.2 million album units moved, with people voluntarily paying an average of $8 per album for total sales of nearly $10 million. Yes, nearly a third opted to pay nothing or minimally for their downloads. But at the other end of the scale, business was also brisk for an $80 premium boxed-set edition that included two vinyl discs, two CDs and a special booklet. Nice work if you can get it. Even better when you consider that the band doesn’t have to share any of that with a record company.

But does this Radiohead gambit really count as “free” if most people are paying for the music voluntarily? A better example would have to be Prince who last summer “gave away” free copies of his Planet Earth CD with London’s Mail on Sunday. We’re talking almost three million CDs. Prince’s UK record label was so incensed with the deal it refused to distribute the album there. But, here again, “free” is perhaps an exaggeration. People had to buy their newspaper to get the CD. The Mail, viewing it as a circulation booster, did pay Prince an undisclosed fee for the distribution rights. And, ultimately, what this was about was promoting Prince’s 26-night stand at London’s O2 Arena, which sold out –and grossed nearly $26 million in the process– in part because of the CD give-away.

A smaller scale example would be my own relationship with Bruce Springsteen’s latest record. The debut single, “Radio Nowhere,” was available for free from the Apple iTunes store during its first week of release. I downloaded it. Having sampled the “free” single, I –and a few million others- later paid $15 for the full album … and shelled out $130 for a concert ticket too (I didn’t buy the $40 tee shirt, but many did).

Artists with the longstanding brand recognition of a Radiohead, Prince or Bruce Springsteen are naturally better positioned to take advantage of evolving music industry business models. But lesser known artists, and businesses in other sectors, can apply a lot of the same logic.

Chris Anderson made the case that the big mass media giants –and in that he includes his day-job employer Wired, which after all is owned by Condé Nast- are struggling with the new reality that on the Web Joe’s blogshop, operating out of someone’s basement office, can earn Internet traffic that rivals a New York Times or CNN. Here again, media isn’t dying, its just that those companies that used to make buckets of money from their control of the limited media channels aren’t hauling those buckets in as fast and furious as they once were. And those who used to be part of the oligopoly controlling public attention now have to share media consumption time with a multiplicity of voices –almost all of them free. Hence, the Times’ decision that it’s a better business model to have no impediments like fees for access in order to maximize the eyeballs on its site and sell more ads.

The evolution of the stolid old trade press may be the best example of how to adapt to this new media universe. Few trade titles, which by their very nature are niche oriented, have paid circulation models any more. Most rely on controlled or qualified circulations among relevant audiences that appeal to advertisers-essentially they’re “free” to readers. The U.S. trade association American Business Media released data earlier this year that noted for the first time last year business-to-business publishers there earned less than half their revenue from advertising. Instead, the majority of income is now coming from ancillary products like conferences, events, guides and directories that people pay premium prices for. None of those things would exist without the mother ship publication or Web property, but the media vehicles in and of themselves have become almost loss leaders to get people’s attention and bring them into the tent. Not unlike Prince giving away CDs so people might think about coming to the show.

Anderson, in Montreal, was frank about his book projects. On a per hour basis, book writing isn’t where the money’s at-even for a guy at his level. But having a best selling book enhances “brand Chris Anderson,” and ensures he can command serious speaker fees.

For his next book, the one he plans to call Free, Anderson said he will probably make it available online as an entirely free download. But he’d also like to see if he can make it free in a hard copy version, perhaps supported by advertising. And, of course, there’ll also be the “premium” edition that would come without ads and on better quality paper that you can pay for it you want it. He might even try a pay-what-you-like model. It seems to have worked for Radiohead.

Let me know what you think


Posted by sutter or mckenzie at 12:40 PM EDT
Updated: Thursday, 18 October 2007 12:49 PM EDT

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