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Tracy Tuten

Google Runs Offense on Bad Ads - 0 views

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    "SAN FRANCISCO - Google yanked 59% more "bad" advertisements from its online systems last year as the world's largest Internet search provider stepped up a battle against a barrage of counterfeiters, suspect downloads and other malicious activity on the Web. Google removed more than 350 million bad ads in 2013, up from about 220 million the year before. That's almost 1 million suspect ads a day. The increase was partly driven by the overall surge in online advertising, most of which is legitimate. But as Google introduces new products, scammers adapt and develop new ways to game the system. "It's a challenge," says Mike Hochberg, ads engineering director who oversees hundreds of engineers and policy experts focused on this at the company. "Google continues to add new types of ads and formats all the time, and that creates new work to track down new ways of creating bad ads." Google's online ad business has become so lucrative, generating billions of dollars a year in profit for itself and its partners, that the company's platforms, such as AdWords and AdSense, are a huge draw for what it calls "bad actors" looking to grab some of this money. In 2011, Google agreed to pay $500 million to settle allegations by the U.S. Department of Justice that ads for Canadian online pharmacies contributed to the illegal importation of prescription drugs. Last year, Mississippi Attorney General Jim Hood said Google was still allowing ads for illegal online pharmacies that sell dangerous or counterfeit drugs without a prescription. Google published a scorecard on its constant battle against such activity for the first time in early 2013, and the company is releasing the second report now. Hochberg says the reports and Google's increased efforts to limit bad ads and online scams were not related to the counterfeiting settlement. "Ensuring that we are serving good ads for users has been part of our ad programs from day one," he says. "Last year, we decided to put out a pseudo
Tracy Tuten

Advertising Week - EVENTS CALENDAR 2010 - 22 views

  • 11:00 am - 11:45 am NASCAR: Life in the Fast LaneNASCAR team owner & Hall Of Fame NFL coach, Joe Gibbs, joins owner & driver, Michael Waltrip, & Driver, Carl Edwards in examining how NASCAR drives brands & loyalty.
  • 11:00 am - 11:45 am Fast Company Global CEO SummitCreative, digital & media leaders from around the world. Moderator: Robert Safian, Editor, Fast CompanyWayne Arnold, Founder & Global CEO, ProferoChuck Brymer, President & CEO, DDB WorldwideBob Lord, Global CEO, RazorfishPeter McGuinness, Chairman & CEO, GothamNigel Morris, CEO, Aegis Media
  • 11:30 am - 2:00 pm Advertising Week Kick-Off Luncheon:The Advertising Club's 2010 Stars of Madison Avenue Honors BroadwayAnnual Kick-off luncheon shines a spotlight on Broadway as we honor American Express, Macy's, Panasonic, Playbill, and Time Warner as great brands that support theater. Presented by The ADVERTISING ClubIn Partnership with Microsoft Advertising, Rainbow Communications, USA TODAY and Yahoo!
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  • 11:45 am - 3:00 pm NASDAQ OMX Social Media Leadership ForumJoin us as we hear from experts at industry leading organizations who have redefined marketing success using social media and social innovators as they discuss the next wave of social trends
  • 12:00 pm - 12:45 pm Advertising Week Bloomberg RoundtableLeading luminaries in a free spirited discussion on the most pressing issues facing the industry. Moderator: Burt Helm, Editor, Bloomberg BusinessweekBob Greenberg, Chairman & CEO, R/GABrian France, Chariman & CEO, NASCARMarialuisa Francoli, CEO, Havas/MPGJon Kamen, Chairman & CEO, @radical.mediaJosh Sapan, President & CEO, Rainbow MediaRussell Simmons, Chairman & CEO, Rush Communications
  • 3:00 pm - 3:45 pm Designing An Agency for the Digital AgeIf you were to build an agency from scratch, how would you do it? What would you make that would keep in step with consumer's changing media habits? Who would you select from the talent pool?Presented by R/GA
  • 4:00 pm - 4:45 pm Advertising Week Leadership ConversationThe intersection of media, content and brands are woven together by the inimitable Stuart Elliott. Moderator: Stuart Elliott, Advertising Columnist, NY TimesGreg Coleman, President, Sales, The Huffington PostJacki Kelley, President, North America, Universal McCannArlene Manos, President, Sales, Rainbow MediaPatrick McKenna, Manager, Marketing Communications, BMWPio Schunker, SVP, Integrated Marketing, Coca-Cola
  • 5:00 pm - 5:45 pm Mediatavern Discussion: Foursquare UnlockedMediatavern's Josh Newman talks with foursquare co-founder Dennis Crowley and Director of Business Development, Tristan Walker on how brands can leverage innovation.
  • 5:00 pm - 5:45 pm The New Consumer Engagement ModelTo effectively engage millennial consumers, brands must learn to move at the speed of influence. Learn new insights, trends and strategies from the industry�s foremost aficionados in brand building, social media and digital strategy development. Moderator: Coltrane Curtis, CEO, Team EpiphanyMarc Ecko, Founder, Complex Magazine and Marc Ecko ClothingStephanie Agresta, EVP, Global Director of Digital Strategy and Social Media, Porter NovelliBonin Bough, Director of Digital and Social Media, PepsiCoGarth Holsinger, Global Sales & Business Director Director, Klout.com
    • Corrie Hall
       
      I watched the podcast, "Billboard presents: under the hood of unstaged. I really liked the info given about the unstaged podcast which is, a curate concert series put on my American Express, VEVO, and YouTube. It creates ways to reach a younger generation. The songs are preformed not usually put on radio but do reach on Billboard charts. Many songs focus on American values and themes. It looks at the amount of people that click- and rates looking at the amount of time the audience is engaged in the stream. After the event people could listen to music, I thought this was very neat.
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    Events to listen to via podcast
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    Students, On October 7th, we won't have class. In its place, listen to one of these highlighted podcasts. Post to the wiki what you listened to and when, as well as the primary points of insight you gleaned. Due by 10/18.
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    Change of due date - 10/14. Thanks!
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    Last comment, I promise. I've only linked to Monday's agenda. There are 5 days of AdWeek. You can choose podcasts from throughout the entire week of events.
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    I was able to watch the podcast "OMMA Global" which took place in New York City on September 27th. The seminar or speech was quite interesting. It talked about the direction the advertising industry will be heading in the next 5 to 10 years. He believes that the industry is shifting to mobile forms of media and advertising. He mentioned valuable information about trends of people presently today stating there are 1.7 billion people connected and using the internet and by the year 2014 there is expected to be around 4 billion people. Other trends that are affecting the industry is the fact that consumers want things instant and more like a television experience. He believes that television and internet are going to be one in the same, practically like an interactive television. Most of what the podcast was about I believe to be true. I feel like the competitive advantage for agencies in the advertising industry is going to be which agency can adapt and change the quickest. This pertains to the agencies infrastructure and their ability to have a universal format that is compatible with all devices created. Sometime in the near future people are going to be carrying media experiences with them and are going to be connected in real time, so its critical for ad agencies to convert ad's to video form in with high definition quality. Lastly some of the advice he mentioned towards the end of the seminar could save agencies based on the direction the industry is headed. I feel the most important was the story telling aspect. For agencies to be able to inspire people and have a connection with good stories is going to inevitably attract people and build brands.
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    I watched the podcast "Billboard presents: Under the Hood of Unstaged," which took place on Setpember 27th. It was pretty interesting, especially since I had never heard of Unstaged. Unstaged is a curated concert series put on by American Express, VEVO, and YouTube. They take the most relevant and well-known musicians and mix them with a great director, and then stream concerts live in HD. These concerts are created in a way that the audience can become engaged in it even though they are not present, and are meant to reach a younger generation. The songs that are performed on Unstaged are not usually played on the radio, but do rank high on Billboard charts. For example, John Legend teamed with Spike Lee and the Roots to create songs to perform on Unstaged. The songs were high on the Billboard charts even though they were not all played on the radio or the most well known songs. Because they are not on the radio, the marketers have to think outside of the box to create advertising campaigns. They focus on the songs with the best messages instead of just the most popular songs. Many of the songs focus on American values and themes. I really enjoyed the information given about Unstaged in this podcast, and I especially liked how marketing focuses on the songs with the best messages. Usually, the most popular songs are focused on, but I think people enjoy songs that have a deeper meaning and that they can relate to. Unstaged and the partnership between American Express, VEVO, and YouTube are proving to be huge successes. The success is judged by click-through rates and looking at the amount of time the audience is engaged in the stream, among other things. When this live presentation was over, there was an event where people could listen to the music live. After listening about Unstaged, I want to take a look at it myself!
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    The podcast I listened to was called "Around the Dial: A Music Industry Roundtable", which took place in B.B. King's Music Club on September 30th. This free flowing conversation about advertising and the music industry consisted of many well respected individuals including: Aimee Higgins who is the VP is Pandora radio, Harvey Leeds who is the executive chief of Headquarters Management, Jesse Mann who is the GM of The Bowery Presents, Kenny Ochoa who is the VP of Sony Music, Josh Rabinowitz who is the Senior VP and Director if Music for the Grey Group, and finally rock and roll hall of famer Marky Ramone of the Ramones. Their main discussion consisted of how to unite Madison Ave. with the music industry. Advertising has proven to be a vital way to promote music. In the past few years one of the top ways to promote a band has been to run their music in an Apple television commercial. This proves that the traditional major record labels are becoming obsolete due to the low revenues in record sales and the high profit potential in internet marketing and merchandising. The traditional record store is also diminishing fast. The days of discovering new bands and artists by thumbing through stacks of records has become an enjoyment of the past. For many people, including myself, that is something I grew up doing and still enjoy to this day. Pandora radio has tried to simulate this by catering to every persons individual music taste. They also offer a better music experience because they only play an audio advertisement every 20 minutes, which is much less than the traditional radio. As explained by Aimee, Pandora is trying to become a place for music discovery and a place where new artists and bands can become noticed. Pandora reaches a wide array of people with 60 million subscribers in the U.S. alone. This is a huge number compared to XM radio's less than 20 million subscribers. Creating value in business practices between bands and brands is key for both sides.
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    The podcast I listened to was called "Fast Company Global CEO Forum", which occurred at 11:00am on September 29. The Fast Company CEO Forum consisted of the creative, digital, and media leaders from around the world, who's focus is to lead the way forward for the the ad industry. The summit's moderator was Bob Safian, accompanied with a panel of global ad agency CEO's, including Rosemary Ryan, Matt Freeman, Simon Sherwood, and Larry Woodword. The main focus of the summit was how ad agencies can adapt with technology to combine traditional advertising methods with mobile, social, and digital media. One topic stressed during the summit was the notion of ad agencies belonging to larger corporations, known as holding companies, and the freedom allowed for marketers to do what they want to do to be innovative and efficient. One side of the panel argued that holding companies do not allow for innovative thoughts to adapt with technology, while the other side of the panel argued that it is not financially viable to remain independent in the global marketplace. The global marketplace is too large for one agency to specialize in all of the different media options now available with growing technology. The overall theme of the summit revolved around the fast changing marketplace in the advertisement world and how to adapt to those changes. I enjoyed listening to the arguments given and I feel it is imperative for ad agencies to allow for a free flow of knowledge, with the help of specialized partners in the industry to help adapt with technology and the growing marketplace.
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    I watched the podcast "Billboard presents: Under the Hood of Unstaged," which took place on Setpember 27th. I thought it was pretty interesting because of the fact I have never heard of it before. Throughout the podcast that talk about Unstaged. Unstaged is a concert series put on by American Express, and YouTube. They take the most popular artist in today's society and team them up with the most popular and greatest directors in today's society and team them up together to stream live concerts in HD. These concerts play songs that are not usually or never played on the radio. Yes, it might be harder way to advertise these new songs, but it is a great way to get the songs out in the open to the public. These concerts are great because it gets the audience involved without actually having to pay for a ticket, and wait in traffic for the concert. The "people" are there without actually being there. In the podcast they mentioned why they don't particularly play these songs on the radio. These songs are the ones with the greatest rhythm and tune, and beat; they are the songs that portray the best message. Marketers trying to promote Unstaged have an extremely tough job because they are trying to promote something that no ones really ever heard of. And once people have heard of it they are not promoting the best songs, they are promoting the best messages. But apparently these people are doing a great job, because by the amount of clicks they are getting, and the amount of time the audience is streaming tell them that they are doing a great job. I think this is a great idea and a great partnership between American Express, VEVO, and YouTube. I would very strongly consider using this!
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    The podcast I listened to was "Around the Dial: A Music Industry Roundtable." This discussion took place on September 30th, 2010 during Advertising Week. This was a Q and A table discussion with some of the major players in the advertising and music industry with Madison Avenue being the link between the two. The individuals that lead the discussion were: Harvey Leads, retired from Sony Music and now consulting for Livenation, Marky Ramone- rock n roll hall of fame of the group the Ramones, Kenny Ochoa- Sony Music, Jesse Mann- GM of Bowery Presents, Josh Rabinowitz- Vp of Music at Gray Advertising, and Amy Higgins from Pandora. These are highly repected individuals and know how to intertwine music and advertising together. The overall goal is to use Madison Aveune to promote new and upcoming bands and artists. The number one way to expose a new artist is to get them on an Apple TV ad. That is one of the main places they will get noticed and get their music heard. Another interesting topic that was brought up was if radio is becoming the new advertising. And in a way it is, its helping consumers identify the artist in their favorbale ad or commerical. By observing the association between a song and a product, it promotes both the artist and the brand and make consumers aware. They will then go download that song and listen to it on the radio whenever it is played. Finally Pandora has an interesting take on music and advertising. They have tried to help build relationships between brands and artists. They try and expose a popular brand with music that will fit that lifestyle and what that advertisment is trying to convey. It fits everyones taste and can target multiple types of people at the same time. Overall, interesting posdcast!
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    I was unable to find the podcasts, however I did listen to WADV radio who did an interview with Daniel Lamarre who is the President and Chief Executive Officer of Cirque du Soliel. This interview was done over Ad Week after Daniel Lamarre did a presentation on what he enjoys most about being a part of Cirque du Soliel. I found it intriguing how enthusiastic he was about his company and the creativity it brings to the world. He even said it was intimidating being in front of so many large, well-known companies and he wants to become more knowledgeable about advertising as a whole as well as exporting the creativity of Montreal and Quebec. The Stage Director seemed to be the person he praised the most because he said they are the ones who really illustrate the creativity of Cirque du Soliel. Lamarre is striving to create a belonging with the people in towns the production visits. He also said he enjoys the fact that Cirque du Soliel creates so many jobs for amazing artists and he has a mission to protect and provide these jobs and institution. I found him to be enthralled with his job and that is what makes a great company- someone who genuinely loves what they do every day.
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    I listened to the podcast Around the Dial: A Music Industry Roundtable which took place on September 30th. This podcast is considered the ultimate music industry roundtable because notable music industry insiders discuss what new and upcoming in music and Madison Avenue. Some of the individuals who participated in this podcast were music industry veteran Harvey Leeds, Jesse Mann, General Manager of The Bowery Presents, Kenny Ochoa, VP of Sony Music, Josh Rabinowitz, Director of Music for the Grey Group, Marky Ramone, Rock & Roll Hall of Famer, and Amy Higgins from Pandora. During the podcast the music experts shared their information and opinions on different topics related to new music and helped promote the upcoming bands. One of the things I found interesting was how strong bonds were purposely created between bands and brands. For example, Pandora promoted a Dave Matthews Band concert and connected the band with Britta Water Company. This linked the two together and Dave Matthews Band advertised for Britta and vice versa. During the Dave Matthews Band concert free Britta water was distributed for the fans that brought water bottles. Amy Higgins explained how important the connection between well known bands and brands are in order to have successful advertising. As a result of this association, linking a band or singer with a product will result in elevated sales. I also enjoyed listening to how Pandora is developing into a discovery brand for new artists. Considering Pandora is something I use regularly it was interesting to understand the tactics behind how they influenced which artists I listened to. I learned a lot through this podcast about how important it is for brand association.
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    I was able to listen to the Tim Westergren interview done on WADV September 29, 2010. Tim Westergren is the creator of Pandora, and spoke about how Pandora has come on the scene and how it will change in the future. Pandora was a huge success when it first came about, and since then they have add apps for iphone and itouch. By creating other ways to access Pandora it has opened a whole other playing field for Pandora. They are now integrating Pandora in cars and ford is now advertising the product in their ads. Tim talked about what excites him now and what will in the future, and for right now he is just excited that the users of Pandora are so excited about the product. Tim mentioned through that what excites him in the future is that this product will really help up and coming artist enter the music scene a lot easier than before. There are 90,000 artist featured on Pandora, and with the shuffle feature users have a greater chance at finding new artists they might not have ever known about. One of the last things that stuck with me about the interview was that Pandora receives up to 30,000 feedback responds in a month and Tim said that the feedback isn't really feedback but people letting them know how much they love Pandora, and how it is the wave of the future in the music industry.
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    I listened to the podcast Around the Dial: A Music Industry Roundtable. It was conversation among some several influential people about what is happening in the music industry and how they are using advertising more and more to promore their music. The people in the conversation included industry leaders in the music busisness, the general manager of Bowery Presents which is a company that books bands for local venues in their area. It also included the VP of Sony, the Director of music for the grey group, a few Rock & Roll hall of famers and a representative of pandora. Harvey Leads who used to work at Sony and is now working with several people in the music industry to promote music. He tells an interesting story at the beginning about about how they were unable to get a song for the band new found glory on MTV and they read that one of the best ways to get noticed is have your song in an apple commercial. So they got their publicity in commercials for RockStar energy drink and Taco-Bell. So instead of getting the promotion on MTV he got his publicity on the commercials. Amy Higgins of Pandora tells a story about how they connected Brita the water filter company with Dave Matthews new album. They both benefited from the partnership and then started a campaign about how the band was becoming greener and doing promotions including Brita water bottles at concerts. Its a very interesting conversation, they also talk about how advertising might be the new radio, and one of the speakers talks about how 9 out of 10 songs in commercials dont actually connect with consumers, and how a song might connect on one television show but not another and the same thing happens in advertising. He speaks about even if its a great ad, its up to the label and the brand to create the publicity and support to make sure people are aware of it. They then have several small conversations about how their industry's are changing. The Marky Ramone talks about when he first used his song's
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    For this response I listened to the Senior Advertising Director of SAGE's Robert Espinoza's interview on receiving the GLAAD award. I learned that the goal of the campaign was to inform people about the needs of caregiving for gay, lesbian and bisexual old persons. They ran it through publications that targeted the direct audience of people that may be in the situation to be a caregiver. One interesting thing they did to reach a wider audience was their use of spanish advertisements as well. They've moved their goals to reach passed just the people of NYC and to bring the project into the national spotlight. They're trying to generate an understanding that this issue isn't age specific, and let people know that there are older folks with this lifestyle. They've worked with national organization to further their message to generate and spread the word. The focus on there issues as well that they feel similar groups might be interested in such as HIV/AIDS.
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    I listened to Around the dial : A music Industry Roundtable. It dealt with very successful and well known people in the music business talking about how important music is to advertising and vice versa. Some of these well known people include Harvey Leads who worked for Sony previously and now he does consulting with several music artist and bands. He is trying to "cross pollinate" the music industry with the advertising industry and how he can marry the both of them comfortably. A recent project he embarked in was with New Found Glory and how they were going on tour with Paramore and they wanted to create a video, even though they knew MTV wouldn't play it. And it all focused on product placement of Taco Bell, Rockstar energy drinks and a gym shoe. Based on that i realized how important it is for a brand, a product, a company to merge well with an artist because if those two merge well then they merge even better because of the fan base and the costumers they both have. They also state how in the past both business were fighting for money rather than for a good relationship which is what they are doing today. The director for grey music was also present and he mentioned how advertising has become a major part of the music industry because it helps the new coming artists to get their name out. Billboard magazine is helping getting exposure out by trying to see who is going to get the Apple TV Ad. Marky Ramone was also present and he talks about how the songs they wrote were to get exposure but now with downloading it has been a useful tool to supplement income for those bands. Amy Higgins of Pandora was there as well saying it is all about sale strategies and how to create relationships with music and products in order to make them both happy. It is about finding partnerships to make things happen ( concerts, shows...) A project she mentioned was the partnership they did with DMB and Britta. They had DMB songs on Pandora which was a big album. Then fro
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    I listened to Around the Dial: A music industry roundtable. In this podcast several of the top minds in the music/advertising industry sat down to talk about how the union between music and marketing can be profitable for both parties. Each member of the roundtable, including Kenny Ochoa, Jessie Mann, Josh Robenowitz and Marky Ramone discuss their personal experiences using music in marketing and vice versa. Ramone made the comments that some artists and fans see this as "selling out", but in reality it is one of the best possible ways to get your music more recognized and reach a broader audience than you normally would. An excellent example is that being featured in an Apple advertisement was rated as one of the top 100 ways to expose yourself as an artist. Many examples of how bands and products come together to create brand recognition for both parties are explored in this podcast. One of the panelists who works for Pandora discussed how there are 60 million users on Pandora and this is a definite advantage for advertisers who want to reach a niche audience depending on which genre they listen to. An audio advertisement only plays once every twenty minutes meaning there is little overload when a marketer tries to convey their message. Another interesting thought brought up in conversation is that there is so many songs featured in commercials that consumers can find new artists and bands they enjoy just by simply turning on the tv and flipping through channels. Another panelist said this is a great way to expose yourself, but to be careful about which products bands choose to associate themselves and finding the right fit is the key. I found this podcast interesting and insightful into a avenue of marketing I see and hear everyday, yet have never really paid much attention to.
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    I listened to Around the Dial: A music industry roundtable. This podcast consisted of Kenny Ochoa, a Sony Music Exec who deals with selling the music rights of Sony to ad agencies to use in their commercials. I learned from this podcast how important music can be in an advertising campaign and how brands and agencies and musical artists work together. Harvey Leads ran the promotion department at Sony. As he said he "cross pollinated" the music and advertising industries. He tells the story of the band New Found Glory made a video with product placement with products like Rock Star Energy Drink and Taco Bell. Amy Higgins talks about how when she worked for Pandora she worked with bands and their initiatives to be greener. The whole goal of this discussion was to discuss how music and advertising have started a journey together and now help each other gain popularity.
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    I watched the OMMA Global Podcast from the Monday September 27th event. The overall theme of the podcast was the future of technology. The key speaker mention that today there are 1.7 billion people on the internet, and by 2014 that number will grow to over 3 billion. This will be due to the changes that will occur to the internet. The internet is expected to become faster and more instant which will allow for more growth. It is so easy to understand why there will be a major growth in the internet because we live in a mobile environment. Devices like our cell phones and i-pads allow us to view media anywhere. The key speaker also mentioned that today there are 700 million online video users that watch up to 10 minutes of video everyday. These statistics will also grow. In the next 3-5 years there will be 3 times as many viewers and they will be watching up to 2 hours of video daily. This is due to the effect the internet will have on t.v. The internet and tv will be combined and interchangeable in the future. Advertising agencies will have to stay current and be creative when trying to advertise in the future because t.v. will change and when t.v. changes advertising changes. It will be interesting to see how that change will occur because our lives will be mobile and advertising will need to be mobile too.
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    The podcast I chose to listen to was Around the Dial: A Music Industry Roundtable." This is a discussion between several influential leaders in the music industry including Harvey Leads, previously with Sony Music but currently a consultant, Markey Ramone, a popular artist, and Amy Higgins, a leader in the Pandora craze. The idea that they were trying to get across in this discussion was that of the connection between advertising and the music industry. It is well known that this is one of the best way for music to promote itself, and this podcast discusses how various artists have gotten their name out and used different forms of marketing. The biggest issue that each of these leaders in the industry dealt with was how to satisfy a range of different consumers, and to keep them interested in their products. Often, bands and artists will brand themselves with different labels in order to keep an edge over the competition and create a bond with the consumer.
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    I listened to the Around the Dial: A music industry roundtable. Josh Rabinowitz, Senior VP and Director of Music for the Grey Group, introduces the discussion on the union of the music industry with Madison Avenue (marketing industry) as "free-flowing." The discussion is among Amy Higgins from Pandora, Harvey Leeds from Headquarters Management, Jesse Mann from The Bowery Presents, Kenny Ochoa from Sony Music, and Marky Ramone of the Ramones. Each panelist talked about how their company was merging marketing and music. Amy Higgins said that Pandora is a marketing tool that can "help you connect to fans...and future fans in an organic way." Not only does regular radio force you to listen to what they have chosen often, you are often bombarded with the "clutter" of advertising. She says that Pandora decreases the "clutter" while allowing users to choose the type of music they want to listen to. Marky Ramone relayed how many of his fans felt he sold out when he decided to do music for commercials. It seems to me, after listening to each of the panelists that the music industry and marketing are a natural fit.
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    I listened to Nascar Life in the Fast Lane. It was amazing to see how far Nascar has come in just a short amount of time. The said that the first way advertising showed up in NASCAR was when the driver's use to advertise their own business on their car. It was also shocking to realize that NASCAR is the second most watched sport in USA behind football. In this Michael Waltrip says that while he raced he made sure that no matter how small or big the sticker on the car was he made that company feel like they were always the same. The reason he did this because the more he did for them, the better the chance that that company might give even more money. They also said that NASCAR fan are some of the most avid fans around. They will change their lifestyles depending on a driver's changes in some cases. Even insurance companys now sponsor NASCAR. The reasoning behind them getting into the sport is because of the 75 million fans that they can get their attention just during a race. Eventhough they are an insurance company and NASCAR is a thrill seeking sport. They feel as though they are gaining more because fans see that they will insure drivers, the it will be easy for them to enusre them as a fan.
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    I viewed What Actually Drives Content Consumption and Why You Should Care. AOL leaders talked about many ways content is received online. AOL is not only preparing to lead the way forward today but also coming up with ways in which to lead the way forward tomorrow. Consumers are a bit off on how they are actually viewing content. Over half the time spent online is spent consuming information while the other half is spent communicating(email, social networking, etc.). I was shocked to find out that seventy percent of users have less than 20 sites in their core mix that they view and almost fifty percent have only 10 sites! Many users do not realize that the the main way they seek information is search focused. Users look for content that is credible, trustworthy, recent, relevant, and brand authoritative. They go through trial, discovery and loyalty phases. Online trial process is mainly about access, such as being quick and delievered when you want it in the way you want to recieve it(consumerspace). The trial phase shifts to content and deals with relevancy. Loyalty is almost always concerned with brand appeal. In order to increase loyalty the brand must have certain attributes. It need to not only be recognized but also have uniqueness and quality. One such way that AOL gave to increase this quality was to invest in authors/ editor who are respected as influential. This increases the chance that the consumer will react to the ad. Also strong visual appeals engage the customers as long as they are relevent and useful. Consumers have come to accept advertising as content. This is great for marketers, so long as they know the correct ways to deal with the emerging web based content and consumer interests. "Integration has to be more imaginative" online in order to stand out today and tomorrow.
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    I listened to the Carolyn Everson interview, she is the vice president for global ad sales and strategy for Microsoft. It was interesting to hear how hectic her schedule is but how much she enjoys what she does. She mentioned how she will be traveling to China and Europe both three times in the next ninety days and even thought most people would fine that stressful and too much to handle, she was genuinely excited and looking forward. She also talked about her previous experiences with other companies such as MTV and Disney and she says her background with the importance of brands will help her in her new role as VP of global ad sales and strategy.
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    I listened to Designing an Agency for the Digital Age. This podcast discussed how the advertising that we have been working with in the past isn't working like it used to. I learned that the beginning of advertising came from politics. During elections people used to take a train all around the country and promote themselves. At one point William McKinley couldn't travel because he had a sick wife. That is the first time buttons and pins were used. A man name Sam Lloyd came up with a puzzle game which had things about McKinley on it and 20 million of these games were given out. When the television came out it transformed advertising. For a long time using mass media meant increasing sales, however in the recent years clients have been informing agencies it is not working like it used to. There are three reasons why agencies need to transform digitally. One is that mass media is not as effective as it once was. Two is the context. Within context there are ten things that have been developed to help sales. 1. information (google: getting information to information seekers) ; 2. Transaction ( ability to customize) ; 3. participation (Facebook) ; 4. Conversation (Twitter) ; 5. Application ( Driod and Iphone Apps) ; 6. Location (mapping technologies) ; 7. Diversion (Hulu) ; 8. Distribution ( Youtube) ; 9. Visualization (showing data) ; 10. Interruption ( Banner Ads). The third reason to transform is to Innovate. We need to move away from commodity and towards Innovation. Companies need to invest in ideas and not media. There are three ways to transform. The first is to transform the brand. You can either force it into the consumers life or let the consumer put themselves into the company. The best way is through storytelling. Agencies can use metaphors to evoke an emotion so they act a certain way, use a demonstration, Apple for example does demonstrations, or a Game where the user generates the story by being engaged. The second is to transform th
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    I listened to the interview with Tim Westergren who is the founder of Pandora internet radio. Pandora was founded in the early 2000's and has grown into one of the largest radio platforms in the world. Tim mentioned how in the first several years after just having opened up shop, the company received much fortune. However, after the company launched the iphone application and "got into people's cars", it exploded within a short amount of time. Tim says that the users/audience have made Pandora what it is. Tim also says that "big is good in the media world." Tim realizes that music plays a personal role in people's lives so he aims to meet the needs of the average listener by meeting them in their living rooms, cars, on their phones, and mobile devices. He even shared how people have shared their personal moments with the company. Some people have named their children after Pandora and have used Pandora during special moments like birth and weddings. Tim says that he is excited about people's excitement and about what Pandora will do for the working musician. Pandora has a listening population of 60,000 people and growing. This means that with Pandora the platform for independent musicians is at their doorstep.
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    I listened to Carolyn Everson who is corporate vice president global add sales and stratedy for Microsoft advertising. Obviously like most organisations in this field much of the advertising and products that are created are very unique and innovative. She recalls her first 90 days within the organisation and what schedule she has in the environment of advertising. She started her week at Canns advertising festival, which is a prestigious festival known worldwide, mainly social networking and meeting clients. This lead to her giving a conference in front of over 1000 people where she performed a rap dance. The next few months will see her traveling a lot, visiting on a number of occasions Asia and Europe. Her main role throughout her time travelling will be meeting clients and other team members. Throughout her time in advertising working for organisations such as Disney and MTV the most vital aspect she has learned is the importance of brands and content. In addition to the importance of brands and content she strives to reinforce that it is importance to bring it to a digital environment.
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    I listened to the interview with Carolyn Everson, corporate VP of global ad sales and strategy for Microsoft advertising. It was interesting to hear her talk about how often she is engaging in contact with customers of the company. She has to travel to all of these places, finding out what the company is doing right, or doing wrong, in order to improve on their products and services, which is very important in any industry. Many companies don't consider the great importance of continual improvement, and how their choice to do so, or not, will affect old and new customers. I think it is a good thing that Microsoft is getting their employees to do personal visits to its customers because when a customer sees that the supplier cares about how they are affected by their products, and ask for their input, they have a more positive perception of the company.
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    I listen to the interview with Julia Boorstin of Media Money of CNBC, who seem to enjoy here career, she said that she feels confident about the industry in the upcoming year, and loved that her career gave her the opportunity the communicate with the people at the center of the transformation in the industry. Julia began her interview explain that the industry now is cautiously optimistic, in contrast to the scare of last year. Last year a lot of the ad spinning was put on hold and now it up 6% this year. Another issue that was discussed was the resurgence in traditional media, such as television and radio. Even though these are not the most up to date media, they still dominate the industry. Ad agencies are now feeling the pressure from social media ads and website like Google, where the ads are brought directly from the supplier. To adapt ad agencies need to become specialized to help the transformation of crafting the story, so that advertising can cross platforms. The message that needs to be presented in ads now is what is the "Bottom Line", being able to relate and tell a story.
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    I watched a WADV 2010 interview with Neil Glassman, social times contributor, blogger and consultant who chatted about radio, experience in branding and his perspective on whats next and more. The interview was conducted in union square park and he knew the interviewer, they had been in the same industry highway for years, just different lanes. Social media differs from radio in the following fundamental way: can't see, know or name who you are talking to and they must be able to respond without picking up a telephone. He now works in industries where he is seen, writing two blogs, one marketing video and one his personal blog, titled bisban parrow. He also does consulting for social media companies. To take radio broadcast to the future, the industry must seize the following opportunities according to Glassman: 1. in a recent blog he discussed the importance of moving from the original media platforms to more engaging methods like tweeting. 2. Two falicies about social marketing and radio include: content is king (must deliver value and be packaged in desired, value added packaging and localism- radio professionals are grasping back to local markets and new type of localism is here- connect to the internet and find radio wherever you want. The interviewer suggested the term glocal, which I find very fitting. Appreciate your surroundings and understand how they apply to your local. Advertisers have to find ways to utilize these social media outlets to try engage with their market(s). Glassman is responsible for creating the product ISDN, and learned several lessons: he had the first commercial hardware product using mp3 files which was new technology in a old market when it was first released. The zepher for a duplex cost roughly 6k and no technicians knew how to install it. From this experience, the communicates the following message about branding: most advertiser believe every brand needs a name. His boss didn't want to name the box, he did and the
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    I chose to listen to an interview of filmmaker Oliver Stone which was conducted by David Carr. The discussion was based on Stone's newest project, "Wall Street: Money Never Sleeps". The film stars Michael Douglas who portrays the infamous Gordon Gecko, and opened at no.1 which makes for Stone's biggest opening ever. Oliver Stone spoke about his outlook on America and the future for the country. Often times he would relate his insight to connections in the film, with great emphasis on the relationships between characters in the movie. Stone states that he has seen four economic bubbles in his lifetime and that there will be more to come. He explains that as a country, we never took the time to recover from 2001, that we just kept going until the economy plummeted in 2008. The world faces a constant rise and fall, cyclical effect and this will continue in the future. It was noted that financial services have become a huge factor in American business today, we have profit without production, a huge portion of revenues come from moving money these days as opposed to manufacturing in the past. Moving money and leverage is what this movie is all about. Stone has created an emotional film that reflects the economic storm that we are currently facing. Here morals, karma and trust become key themes throughout the film. Each character faces moral challenges where ideals come into conflict with the power of money. Stone states that "everyone adjusts their own way, who gets out and who doesn't is the key". The power of rumors becomes relevant especially in the marketplace. Leverage is seen as a game not based on what you have but whether you are winning or losing. He does not aim at explaining the movie entirely just the key connections to make while analyzing the plot. I really enjoyed how he ended the interview by stating that he made sure to depict that the young generation is hopeful and that is what the economy needs today.
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    I have really wanted to see "Wall Street: Money Never Sleeps" ever since I saw the trailer. I found that director Oliver Stone was interviewed on September 30, so it certainly piqued my interest. David Carr first speaks about wanting to interview Oliver Stone and having to go to great lengths to secure some time with him in his trailer. The film broke out to the number 1 box office hit in its first week and is the all-time biggest film in India without dubs. Stone mentions "bubbles" dealing with the crests and troughs of the American economy he's withnessed ever since the '60s. In 2001 when the economy was very low he states that we never fully recovered from that and a couple years ago in 2008 it worsened to an extreme. He quotes a statistic saying 40% of the corporate profit in the United States was through shadow banking and financial services. He is exactly right. In June of that year the shadow banking system was approximately the same size as the traditional depository banking system in the U.S. From 1986 to 2008, so 22 years, that percentage rose from 16% to 40%. This shows that more and more people are making money via services rather than producing new products. Mr. Stone states that his father once told him, "there shouldn't be profit without production." His movie shows the corrupt side of Wall Street with Gordon Gecko, who is played by Michael Douglas. Gecko served time in jail for insider trading and the film starts with him getting out of prison with a new mindset from looking from the outside, in. Listening to the full interview session absolutely made me want to watch "Wall Street: Money Never Sleeps" even more.
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    David Carr and Oliver Stone begin the forum by discussing the recent politics behind the movie Wall Street: Money Never Sleeps. The premise of the movie is the greed that is apparent in Wall Street and the banks and financial institutions of the U.S. Oliver talks about whether the banks should have been bailed out and the whole "To Big to Fail" political debate. He presents both sides of the story, and doesn't really present a definitive opinion. He does mention how blue collar workers make the same as they did in 1973 when adjusted for inflation. He also mentions that there have been four bubbles of economic unrest in the past fifty years. One of them was during Vietnam, the other during the 70's, and another is today's financial crisis. Oliver Stone then goes on to talk about his movie and the significance of it regarding the amount of greed on Wall Street. I have not seen the first nor the second versions of Wall Street, but listening to Stone really made me want to. I think the American people have a very negative attitude towards those on Wall Street and this movie goes with that attitude. This is also noteworthy for advertisers as elitism has a negative connotation and may drive away potential customers in advertising. At the very end Oliver Stone talks about the relationship between his films and advertisers. He talks about in Wall Street II Dunkin Donuts and the energy drinks. He seems to have a negative attitude towards product placements in his movie. He says, "We didn't have to revert to prostituting our movie."
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    TIM WESTERGREN'S INTERVIEW: The founder of Pandora, Tim Westergren chats about how Pandora has evolved, the power of the mobile platform, music discovery, the evolution of Pandora in vehicles, social media feedback and more. Pandora allows people to reconnect with music. It all started with Pandora conquering cell phones, now the next exciting thing will be Pandora intergrated into vehicles. They are now developing products with car manufacturers and after-market stereo companies such as Pioneer and others. He is currently working with Ford, Mercedes and other companies. His goal is to be in every new car that rolls off the manufacturing line. Half of the 20 million people who have Pandora on their iPhones use it in the car. But they can't promote that kind of usage because of the safety concerns involved when driving and trying to control your phone at the same time. So the future is in being able to control Pandora right from your steering wheel. Pandora will really change the music industry for the musicians as well so that the life of a working musician might get easier. Pandora will help musicians to better connect with fans. They plan on opening a mass platform (over 60 million listeners in the U.S.) so that any artist will get to participate in a level playing field. Pandora currently has 90,000 artists in their collection. Westergren also states how the company likes to hold townhalls. Townhalls are informal gatherings where they invite local listeners to get together to talk about Pandora and music.It gives them a chance to get to connect personally with people, hear their feedback, and what they like and don't like. They receive over 30,000 emails a month from their listeners. People write them poetry, send cookies, and even name their kids after Pandora! Pandora is definitely filtering into people's lives more and more every day. Music is an extraordinary powerful thing and Pandora allows people to reconnect with the music they love.
Tracy Tuten

Damn, Skippy! A Guest Post by Lisa Proctor - 0 views

Damn, Skippy! Leveraging Segmentation and Positioning Best Practices to Build a Stronger BrandWhen I started thinking about what I was going to focus on in my analysis of how Hormel and BBDO identi...

started by Tracy Tuten on 21 Oct 14 no follow-up yet
Tracy Tuten

How USA Today's Ad Meter Broke Super Bowl Advertising | Special: Super Bowl - Advertisi... - 0 views

  • The commercial also ushered in an era in Super Bowl advertising that we still inhabit: the ad as entertainment.
  • That we expect ads during the Super Bowl to be as entertaining as the game itself can largely be traced back to "1984."
  • In 1989, just a few years after "1984," the national newspaper introduced a revolutionary concept -- and a marketing masterstroke. Take a small panel of people, isolate them in a room with a meter and tell them to constantly turn a dial rating what they're seeing on a scale from one to 10.
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  • Second, YouTube views and blog posts allow an ad to succeed or fail outside traditional media structures. VW's "The Force" has been viewed more than 90 million times since Super Bowl 2011.
  • "It better be something that rings some bells or gets measured on the USA Today Richter Scale," said TBWA/MediaArts Chairman Lee Clow. But the creator of "1984" also believes it means fewer ads like that one have been made. "It's a big challenge to spend $3 million on the time and then a million on the spot. It's kinda difficult to then come in 19th on the USA Today 'How'd you like our spot?' scale."
  • Even so, the poll's influence is waning. Today, most marketers combine immediate feedback with sophisticated research from Nielsen, GFK, Zeta Interactive, Kantar or Ace Metrix to understand the long-term impact of spots. Now that the real-time web has gone mass in the form of Facebook and Twitter, marketers and agencies have dozens of new services and dashboards to monitor, as well as the means to influence the discussion as it happens, not to mention giving the commentariat something else to write about.
  • With so much at stake, to please the clients and bolster their own resumes, directors started creating ads for the panel -- the media equivalent of teaching for the test. How do you get people to have an immediate, positive reaction to something they're seeing? Certainly don't show them a narrative. Make them laugh.
  • "If you go back 10 years, it was the only thing," said CMO Scott Keogh. "You didn't have social, YouTube views, you didn't have the blogs and all the running commentary. Basically, the press would report on the Ad Meter.
  • Even USA Today has lost faith in the ability of the panel alone to pick a winner. This year, in addition to selecting two panels of 150 in cities that USA Today won't reveal, the paper is opening up the voting to the public on Facebook. As a result, for the first time since 1989, USA Today won't declare a "winner" in Monday morning's paper. The true winner won't be declared until after the polls close Wednesday.
  • Why not dump the panel entirely? In social media, consumers will rate only the ads they love and hate, a spokesperson said. The panel is the only way USA Today sees to be sure every ad gets a vote.
  • "I'll have four screens going during the game in front of me, showing me charts and graphs," Mr. Ewanick said. "We have five or six other groups monitoring, then we'll have next-day research, copy testing, focus groups. There's a lot of money involved here. You have to really understand your ROI to make sure you learn from this, so you can apply that the next year."
  • When will we once again get more Super Bowl ads like "1984"? When creatives stop making spots to incite an instant reaction, sort of like Chrysler's two-minute "Imported From Detroit," a high-concept, big-idea spot that put Detroit before the car and even before the celebrity (Eminem). It was great creative, by most measures, and probably the closest thing to "1984" in its ambition since, well, "1984."
  • Predictably, "Imported From Detroit" bombed on the Ad Meter, coming in at No. 43.
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    Social media are changing the way we will measure the success of Super Bowl advertising!
Tracy Tuten

Football, 'Big Bang,' TV's Most Expensive Ad Buys | Media - Advertising Age - 0 views

  • TV's costliest shows this season are the ones that have a preponderance of live viewership.
  • On average, advertisers pay $627,300 for a 30-second spot in "Sunday Night Football," up about 6% from last season's cost.
  • It's a trend that's consistent with the last several years -- advertisers are willing to pay more for programming that's watched live as more viewership takes place on a delayed basis.
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  • CBS's "The Big Bang Theory" is the most expensive entertainment program on broadcast, averaging $344,827. It's consistently the highest-rated comedy, with the one-hour season premiere this week watched by an average of 17.2 million people.
  • But the priciest scripted series is actually on cable, with AMC's "Walking Dead" costing advertisers upwards of $400,000 for a package of spots.
  • There are several cable programs that challenge broadcast as the most expensive in which to buy commercial time, including ESPN's "Monday Night Football," which costs about $400,000. But it's difficult to compare many cable ad packages to those of broadcast because cable often includes multiple airings and repeats of a show.
  • Ad Age's survey is compiled using data from as many as seven media-buying agencies. (See our 2013 TV ad pricing chart here.) The resulting prices should be viewed as directional indicators and are not the actual price that every advertiser pays for a 30-second spot. The numbers are based on a range of agency estimates that can vary depending on the amount of inventory purchased from a network, the inclusion of any nontraditional advertising such as product placements, and the relationship an advertiser and media-buying agency has with a network. Most TV advertising is typically purchased as part of larger negotiations, not on a one-off basis.
  • Another newcomer is ABC's "Scandal" at No. 9 for broadcast with an average of $217,546. Of those returning shows, 21 have seen the cost for ad time decrease, while another 20 have seen increases and 14 have remained relatively steady.
  • ABC's "Modern Family" saw a meaningful decline in pricing, down 15% to $239,650 from last season and dropping one spot to No. 7 from No. 6 last year.
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    What's the most expensive television media buy? Football and The Big Bang Theory. Check out Ad Age's chart on the cost of 30-second spots.
Tracy Tuten

How Cluttered Is the Advertising Landscape, Really? [Timeline] - 0 views

  • Even before a major communication channel comes of age, it is immediately invaded with advertising. And so much media has proliferated in just the last 22 years that it’s mind-boggling to think about it taking us nearly 400 years to emerge from a print-dominated media landscape, and 48 more years to emerge from period of pre-digital platforms such as TV and radio, to finally arrive at the disproportionately short two-decade span where digital now dominates most advertising budgets.
  • From the moment printing became possible with the invention of the printing press way back in 1440, advertisers began plastering posters on walls and doors within their communities. The first poster ad in English is placed on church doors in London in 1492! Over the next 400 years, ads would find their way into newspapers, magazines, and other print media.
  • When you allocate that across the 2.4 billion internet-connected persons on the planet, it means there are 417 web pages and 2,502 display ads for each! It's simply bonkers to think pumping more interruptive ads into the internet is going to work. Want some more reasons why? Here, lemme tell you: In 1920, there was 1 radio station. In 2011, there were 14,700. In 1946, America had 12 broadcasting TV stations. In 2011, there were over 1,700. In 1998, the average consumer saw or heard 1 million marketing messages – almost 3,000 per day. It’s even more than that now. Just imagine how many Facebook posts or tweets you scroll past every day. Each of those are messages, and now, oftentimes ads. 
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  • Not only has the media landscape grown by type; each type has grown exponentially in volume. Nowadays there’s a magazine, TV channel, radio station, and a gajillion websites for every conceivable interest. And when we say “the internet” as an ad platform, that’s more than one trillion pages we’re talkin’ about. That's one thousand billions, which looks like this: 1,000,000,000,000. Now take that number and multiply it by 6, because that's how many display ads (only one type of ad) were shown across the internet in 2012, according to comScore.
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    A look at the cluttered ad landscape in history
Tracy Tuten

Is This The World's Most Interactive Print Ad? - 1 views

  • A Lexus 2013 ES changes colors, turns on its headlights and exposes its interior as throbbing music plays in this highly interactive print ad in the Oct. 15 Sports Illustrated.
  • Using a Lexus-created technology called CinePrint, the ad comes to life only when you put an iPad behind the printed page that’s displaying the iPad edition of SI or on lexus.com/stunning.
  • As the release from Lexus notes, most traditionally “interactive” print ads direct users away from the page (think QR codes.) However, “CinePrint Technology flips that on its head, creating a tactile and visceral connection that brings one closer to the printed page with a multi-sensory experience that combines sight, sound, and touch.”
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  • Lexus and SI aren’t the only ones trying to make the printed page more interactive. This month SI sister publication Entertainment Weekly included a small cellphone inside its Oct. 5 edition to display live tweets the CW, an advertiser.
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    Using a Lexus-created technology called CinePrint, the ad comes to life only when you put an iPad behind the printed page that's displaying the iPad edition of SI or on lexus.com/stunning. As the release from Lexus notes, most traditionally "interactive" print ads direct users away from the page (think QR codes.) However, "CinePrint Technology flips that on its head, creating a tactile and visceral connection that brings one closer to the printed page with a multi-sensory experience that combines sight, sound, and touch."
Tracy Tuten

The CMO's Guide to Addressable TV Advertising | CMO Strategy - Advertising Age - 0 views

  • Reach: Addressable ads are currently available in up to 42 million households through live TV and video-on-demand. The pool is expected to reach 50 million households by the end of this year.
  • Measurement: Nielsen is not the currency. Operators typically use Rentrak or Kantar Media for audience measurement.
  • How it works: Marketers pinpoint their target audiences and create a household profile using data such as income, ethnicity, children in the household and car leases set to expire. They then work with cable operators to determine the number of addressable-enabled households that fit their target and serve commercials to just those homes.
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  • Cablevision: About 3 million households can be targeted. DirecTV: About 12 million households can be targeted. Dish Network: About 8 million households can be targeted.
  • THE CHALLENGES No standardization: It's complicated and time consuming to run an addressable campaign across multiple operators because the technology can vary by company. Cablevision uses Visible World technology, for example, while Comcast uses BlackArrow. Marketers need to collect potential reach from each operator, determine the optimum frequency and then combine it all. DirecTV and Dish Networks are working to simplify the process by combining their sales efforts for addressable TV advertising for political campaigns. Rollout: Cable operators need to deploy technology on a market-by-market basis to enable addressability. Satellite operators and Cablevision can change the technology at one master facility. Inventory: Adding more addressable-enabled inventory requires networks to work with operators to slice up inventory. For example, NBC Universal and Comcast are partnering to make NBC-controlled inventory addressable-enabled on Comcast VOD.
  • IS IT RIGHT FOR MY BRAND? For brands selling products used by a broad audience, like toilet paper, there's still value in mass marketing. But if you're targeting a very specific consumer, addressable may be a good option. Ask yourself: Are there enough addressable-enabled households that match your target to make it worthwhile? Are there other options that can more efficiently deliver? In general, addressable is most exciting for marketers that don't normally advertise on TV due to budget constraints or because there's no efficient way to reach their niche audience,
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    An overview of how addressable tv works
Tracy Tuten

How Volkswagen Conducted Its Canine Chorus | Special: Super Bowl - Advertising Age - 1 views

  • Last week, Volkswagen and Deutsch, Los Angeles, unveiled a 60-second Super Bowl teaser on YouTube and then on broadcast TV during an episode of "The Middle" on ABC. The spot stars mutts barking a canine rendition of "The Imperial March," aka "Darth Vader's Theme," the track featured in last year's VW Super Bowl darling, "The Force."
  • The dozen dogs, selected from a pool of 40 who "auditioned," were chosen not for their vocal chops but, in some cases, for their resemblance to "Star Wars" characters, according to Tim Mahoney, chief product and marketing officer for Volkswagen of America. "See if you can find Chewbacca," he said, adding, "If you have a pet in the house, this ad drives them crazy."
  • The idea behind "The Bark Side" was to create an ad to promote an ad. "We were among a few brands last year who pre-released our Super Bowl ad, and the feeling was we were ahead of the pack," said Mark Hunter, chief creative officer for Deutsch, apparently with no pun intended. "So this year, it's what can we do to continue to set media trends."
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  • The ad was directed by Keith Schofield of Caviar Content, who said the dogs were shot together and then separately on the set, barking to a temporary track created by Endless Noise's Jeff Elmassian, who was also behind the arrangement of John William's original Vader march for "The Force." Prior to production, "we talked about how this should probably be handled like a music video," said Deutsch Director of Integrated Content Vic Palumbo. "We needed to create the track first and then figure out who the dogs are, what notes they're going to be singing."
  • One of the biggest challenges was the balancing act of using unaltered dog barks and digitally enhanced ones. The final mix featured a combination of both. "The human ear is discerning enough that even a lay person can tell when something is synthetic," said Mr. Elmassian. "You want a certain amount of barks to not be effected. Your ear will anchor onto enough of those and start to forgive some of the sounds that do border more on the effected side."
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    Interesting look at what it took to produce the VW Bark Side teaser commercial
Tracy Tuten

12 Ads That Changed Super Bowl Marketing | Special: Super Bowl - Advertising Age - 0 views

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    Review from Ad Age on the most influential Super Bowl ads to date.
Tracy Tuten

A New High (or Low?) in the Innovation-Disruption Model - 1 views

  • A mirror hanging in the entryway of the ISP Sports office is more than just a mirror. It’s an animated billboard. The Geico gecko strolls across the top of the reflective panel touting their insurance brand. Then an ad for Pledge cleaning supplies pops up.
  • Were someone to step forward in order to lather and rinse or check their makeup, those ads would disappear offering the person a clear view of themselves and the room — just like a normal mirror.
  • It’s a bit of new technology that East Carolina University Pirate football fans will soon be accustomed to seeing. ISP, which handles the corporate sponsorships and broadcast rights for ECU athletics, partnered with a company called Mirrus this year to try out the new advertising medium, Vice President and General Manager Meghan Heinchon said.
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  • The corporate messages run on 15-second loops of video or a still image, displaying four advertisers per minute. Those can be changed by inserting a different memory card — like the type used in digital cameras and other media — into the mirror, Heinchon said.
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    Historically, advertising has worked by interrupting consumer activity and then introducing a message to continue to disrupt. The approach captures consumer attention (when it works) and aids in recall later. With social media, marketing has been more inbound than outbound with a move away from the interruption-disruption model, but a new form of out-of-home signage wants to use technology to improve on the old way of doing things. The innovation? Video mirrors from the Mirrus company. The mirrors have been installed in Dowdy-Ficklen Stadium on East Carolina University's campus - one of three universities to test the technology.   The promise is that the mirror is a mirror if someone approaches the mirror - but the potential is clearly there to interrupt activity to show an ad.  Is this a high or a low in advertising advances? Leave a comment to share your opinion. 
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    Students, tell me what you think... this is on Diigo and also on the blog.
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    found a video of this product in action: http://www.youtube.com/watch?v=Ul7-sYNWDVQ
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    Thanks, Paul! Great addition to our discussion.
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    I think this is a new high for advertising advances. This is the one venue where we have been able to escape real time advertising and branding. This new form of out of home sinage is a innovative way to actively show ads, capture consumer attention and aid in recall after the fact. Paul, great video!
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    Who saw the mirrors yesterday? I actually felt they were not quite intrusive enough! I nearly didn't notice. Thoughts?
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    I liked them!! me and my friends were fixing hair and what-not, then an ad come on! I personally thought it was a GREAT idea.
Tracy Tuten

Case study: Pitching a relaunch - 18 views

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    A description of a pitch made by Rare Method at the 2009 Entertainment Summit. The PPT is also included and provides a great example of a campaign pitch. 
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    Hi, some people asked how to comment. If you look above at the bookmark, you should see the Comment option. Sometimes the "add Sticky Note" option will also float around other comments and then you can use it.
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    We'll discuss this article in class, but let's share some thoughts here as well. When you post, you may post a new question or comment or you may reply to someone else. Whichever you do, your posts should be substantive ('cool! nice info' is not substantive). I'll get us started: what roles were played by agency employees in the development of a pitch like this?
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    This article has some really good ideas on how to grasp the audiences attention and to keep them tuning in week after week. However, Bonanza is going up against some of the top leading television shows across the nation, especially Dancing with the Stars. These shows may not be as audience interactive as the ideas from the producers of the show, Bananza, but they are high ranking and they bring in quite a large amount of voters each week. I don't know when their ideas were launched exactly, the article is dated for 2009, and I know that I view YouTube frequently and have never seen one of their advertisements that were listed in the article. I think that they have a really good campaign going, but I'm not sure that when and if they launched these ideas, they followed the path that they were hoping for it go go because I surely haven't seen any trailers for the show!
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    Chelsea, you are right. It didn't launch. I still wanted you to see the "pitch" because usually we only see campaigns and not the plan that was presented to get the business. Good ideas!
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    I agree with Chelsea that this article does have a lot of good ideas on how to catch the audience's attention. Especially with the target audience being a generation that did not grow up watching the original show, the audience needs to be given a reason to start watching this come-back show. I think some people might get annoyed with all of the ads that move across the screen like we talked about in class, but it definitely draws attention for the show, and might spark enough interest for the audience to remain seated after watching 90210 to see what the show is actually about. I know if I saw continuous ads for a new show that may be of interest to me that aired right after one of the shows I watched, I would be very likely to at least watch the first few minutes to see if I liked it.
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    The idea behind this show is very interesting. Unlike other audience engaging television shows this remake of Bonanza's direct story line would be effected by the audience. The storyline for each viewer would conform to their likes and interests. The majority of other audience influenced shows are more reality television and do not have a written script or story line. This show being the first of its kind has a first mover advantage into this new market. Having to compete with dancing with the stars and other shows like that would not be easy. This show was pitched accordingly and if I ran across it on T.V. then i would watch at least for a moment.
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    When reading this article I thought to myself that this idea of bringing back the show bonanza could be a huge it in the entertainment industry. The show might bring back its followers from when bonanza was first aired, but their main target of people I think they are trying to attract are men and women from the ages of 16-25. I say this for a few reasons; 1, they are putting this show on a predominantly teen channel, right after a predominantly teen show:90210. Also to spread the word about this new series they use all aspects of advertising that every young adults use (computer, magazine, cell phones, television). Plus bonanza is rearranging from just western violence that appeals to men, but more too a romantic love story, that draws in the women. I have no doubt in mind that this show will get noticed from all the ads they have put out, but the question is will it be a "good" kind of notice. Seeing ads everywhere will either get you excited for the series or just make the audience get annoyed. I think that the CW needs to make up a contest. For example during a commercial on the show 90210 it needs to state "First 10 people to long on to www.cwtelevision/bonanza.com and answers these questions correctly about the show that just aired will be awarded prizes" Do this the first week especially to get people to start watching, and who knows they might fall for the show, and not even worry about the prizes the following weeks.
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    Let my start my response with a question: Were there supposed to be discussion questions posted for response associated with this case study? The schedule says to read the case study then respond to questions, I didn't see any- did I miss something... I think the strategy of Rare Method group was the most striking part of the campaign. The article stated the strategy, reduced to a single word: access. In fact, the firm strategic foundation of the plan coupled with multiple outlets to allow fans unprecedented access produced an impressive campaign. This central focus helped the group develop a campaign that effectively accomplished the goals of the client and the goals of the firm. The CW wanted to retain real time viewing of the first episode which would drive engagement and provide value for advertisers. Drawing awareness and generating excitement through the construction of a firm fan base was of ultimate importance. The presentation of the campaign made it seem very oriented on the product mix, media outlets and message and based on thorough consumer research. All of the aspects of the client goals were directly linked to the strategy of the group: access. Make the premier accessible to the old fan base, new fan base and viewers in-between. I thought it was really cool that the group actually created a few tools of their own to engage potential viewers with the show in every way. Key demographics were reached through the vast channels the group utilized. Exclude no potential viewers though means of distribution rather include all participants and welcome them in any form. For example, they allowed people mediums to blog and chat about the show in real time, during the premier. The involvement of the cast and crew in viewer blogs was a great way to involve viewers and make them feel connected to the campaign. Podcast, face book and my space proved valuable social media access to reach all the desired demographics. Live interaction also allow
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    I agree with Matheson that the strategy Rare Method used was the core of the campaign. By engaging potential viewers through mobile devices, websites, magazines (cosmogirl.com) and t.v. they allowed their target group many opportunities to see the advertising for Bonanza. This achieves their strategy goal of reminding viewers to tune in to the premier. I thought that main website was a great choice for exposure. The website allowed viewers to engage in Bonanza by watching trailers, looking at cast bios and character profiles, and get involved in behind the scenes blogs. I also thought the casting was an important aspect of the campaign. Rare Method suggested using Heather Locklear, Chad Michael Murray, Jonah Hill and Ellen Page. Heather Locklear would appeal to the older age range of the target group most thirty year olds probably watched her on Melrose Place and would love to follow her on this show. Also, Chad Michael Murray is the handsome hunky guy that all the young girls will go crazy for, and probably watched him on One Tree Hill. Jonah Hill is the funny mans- man he would probably get a good following of men-who are watching the show with their family or girlfriend. And, Ellen Page appeals to a lot of young girls who have probably watched her movies. I think the broad range of actors makes the show appealing to their target market and I think this was a smart choice. I would probably watch the show just based on the actors because I have seen all of them act before and think they will create a dynamic show.
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    I thought this article was great because it explained every step that they took to promote this tv show. They had some really good ideas such as the iPhone application, I thought that was really smart to do considering their target market and todays society. It was also interesting to read how every method of advertising and the reasons why they used them, related so closely to their objectives. They seemed to have been very conscious to not steer of course and keep their target audience and objectives in mind the entire way. I think that if this was a real pitch it would have definitely landed, they did a great job.
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    Well let me start off by saying that as a child I was forced to watch Bonanza from both my mother and father and my grandfather, and as a child I genuinely hated the show. From my experience, Bonanza was boring and very long, and come in black and white and sometime was shown in a faded color. (Which my mother stronger disagree; saying that it was interesting back then, " It didn't matter if it came in black and white or in color, that's all we had, and besides the audience really just fell in love with the characters.") That surprised me because that exactly what their trying to do again, giving a new spin on the show, trying to connect with a newer generation on every social media an new technology possible and have them "fell in love with the characters." After reading about the relaunching that incorporated a digital campaign, I would actually be interested in watching the program again. Their strategy was very good, Access and Live interaction, are really what caught my attention. I never realize in how many outlet you could reach potential viewers, and have the viewer become a part of the program. Rare Method understood their challenge and most definitely took it to a higher level
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    I think one of the best ideas that Rare Method had in their advertisting pitch was to have a vote to include a scene with a guest star from another CW show. I personally have watched a televsion show for the mere fact that it was a "crossover" episode and would feature characters and storyline details from a show I regularly watch. By having a vote you potentially get fans of Smallville, Gossip Girl, and 90210 to tune in just for the chance to see their favorite star on Bonanza. Hopefully, for the network, after these viewers watch the pilot episode they will get hooked and continue to watch Bonanza on a weekly basis.
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    I loved all of the ideas for viewer interaction. Many people in the targeted age group have never heard of Bonanza or are unfamiliar with its content. Giving the viewer the ability to interact and make a direct impact on how the show is aired is an awesome idea. I have been drawn into viewing a show based on personal interaction. Last year I started watching Big Brother and I always viewed their website. It gave me the opportunity to decide what should happen on the next show, once I was even allowed to vote on what the losers should be able to eat. This kept me coming back week after week to vote and then view the show to see which things had won the main vote. However, when I was in England over the summer they also aired a British version of Big Brother. There was no chance to interact and the website was nothing but mere pictures and cast bios. I was disappointed at the lack of interaction and chose not to become a fan of it. The pitch by Rare Method was well thought out and had many ideas that would have helped Bonanza become a successful show.
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    This campaign for the launch of Bonanza was effective in several ways, but I believe that by targeting a large range of people, the show would be well watched and welcomed. The actors and actresses alone let the potential viewers see that people from different backgrounds and generations will enjoy the show based on the actors. The advertising and interactive features in the ads were engaging and made me want to know more simply because of the visuals that took over the screen. The website is engaging which makes people only want to dig deeper and deeper into the show. Blogging is something that attracts the target audience and by getting the actors involved in answering questions, makes the audience seem like the actors are excited about the show as well. If I see actors of television shows or movies who are genuinely excited about promoting their newest show or movie, I want to see that entertainment piece even more. Letting the viewers vote on guest stars is a great way to get the audience involved and make them want to watch the show and tune in to see if their number one vote made it. I would have watched the show based on the advertisements alone because they were interactive and effective in catching the attention of multiple audiences and potential viewers.
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    You all have made some good points on the pitch! As you've reviewed the pitch, and of course, we'll continue looking at the visual images in class on Thursday, are there things you have questions about with the pitch itself? level of description, creative approach, degree of professional execution... good discussion from those who have joined in. ty!
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    The pitch by Rare Method is definitely a modern approach to promoting the premier of a television program. It was smart, if not necessary, for them to use the website as a tool for "access" prior to the shows airing. The idea of posting the character's biographies reflects the need to compete with "So You Think You Can Dance?" They also have an incredibly interactive site http://www.fox.com/dance/ where you can get to know the competitors and participate in voting. Other advertising, including the banners and interactive pop-up ads, are also very creative and advanced. But, I would argue that sometimes too much can push people away. When you hype something up, you really have to deliver. Also, if the buzz starts too far ahead, it can become background noise to those with an overdose of exposure to ads. I think that the campaign is certainly creative, I just think that it is important to step back and make sure that it doesn't get too gimmicky that it in turn becomes repulsive to viewers.
Tracy Tuten

It's time for banner ads to become creative and strategic - Here's how - 0 views

  • Even when served in the most contextually relevant and targeted environments, most banners struggle to achieve click rates in excess of 0.10%. Even within the demographically information rich environs of Facebook, banner click rates are abysmal. At a recent SES Conference, Sarah Smith, online sales operations manager at Facebook said that the average campaign click-through rates on the social network were as low as 0.05%.
  • In his outlook for 2010, industry analyst Imran Khan predicts that spend on display banner advertising will increase by 10.5%.
  • Khan identifies two important developments in this regard: greater creativity in banner ad formats and a better integration of mechanisms to capture real-time consumer intent data.
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  • The Apple takeover on the New York Times page is an excellent example of how a creative ad format along with an innovative media placement can come together to overcome banner blindness. By navigating the website real estate between the leaderboard and skyscraper banners, John Hodgman and the Mac guy were effectively able to communicate the Macintosh value proposition. There was no need for the user to click away from the message. There are several other examples of innovative creative formats; the Pointroll Fat Boy ads that expand to reveal deals from CVS pharmacy and the "Intel's History of Innovation" rollover banner come to mind.
  • The ASPCA used a different approach to combat this drop off. To increase the number of its Facebook fans and Twitter followers, the ASPCA used a cost-per-lead banner. In such, the user fills in personal information within the banner. Upon hitting the submit button, the user information is sent from the publisher to the advertiser on the backend. The user continues to stay on the website. By using a banner that had a built-in mechanism to capture user information, the ASPCA was able to avoid drop off, and grow its Facebook and Twitter members quickly.
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    Banner ad effectiveness is poor because we've developed banner blindness. Now is the time to revisit the creative and strategic design of banners. In this piece from MediaPost, several examples of successful banners are described. 
Tracy Tuten

Letters of Note: I am a lousy copywriter - 0 views

  • On March 22nd you wrote to me asking for some notes on my work habits as a copywriter. They are appalling, as you are about to see: 1. I have never written an advertisement in the office. Too many interruptions. I do all my writing at home. 2. I spend a long time studying the precedents. I look at every advertisement which has appeared for competing products during the past 20 years. 3. I am helpless without research material—and the more "motivational" the better.
  • 4. I write out a definition of the problem and a statement of the purpose which I wish the campaign to achieve. Then I go no further until the statement and its principles have been accepted by the client. 5. Before actually writing the copy, I write down every concievable fact and selling idea. Then I get them organized and relate them to research and the copy platform. 6. Then I write the headline. As a matter of fact I try to write 20 alternative headlines for every advertisement. And I never select the final headline without asking the opinion of other people in the agency. In some cases I seek the help of the research department and get them to do a split-run on a battery of headlines.
  • 7. At this point I can no longer postpone the actual copy. So I go home and sit down at my desk. I find myself entirely without ideas. I get bad-tempered. If my wife comes into the room I growl at her. (This has gotten worse since I gave up smoking.) 8. I am terrified of producing a lousy advertisement. This causes me to throw away the first 20 attempts. 9. If all else fails, I drink half a bottle of rum and play a Handel oratorio on the gramophone. This generally produces an uncontrollable gush of copy. 10. The next morning I get up early and edit the gush. 11. Then I take the train to New York and my secretary types a draft. (I cannot type, which is very inconvenient.)
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  • 12. I am a lousy copywriter, but I am a good editor. So I go to work editing my own draft. After four or five editings, it looks good enough to show to the client. If the client changes the copy, I get angry—because I took a lot of trouble writing it, and what I wrote I wrote on purpose.
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    British-born David Ogilvy was one of the original, and greatest, "ad men." In 1948, he started what would eventually be known as Ogilvy & Mather, the Manhattan-based advertising agency that has since been responsible for some of the world's most iconic ad campaigns, and in 1963 he even wrote Confessions of an Advertising Man, the best-selling book that is still to this day considered essential reading for all who enter the industry. Time magazine called him "the most sought-after wizard in today's advertising industry" in the early-'60s; his name, and that of his agency, have been mentioned more than once in Mad Men for good reason. With all that in mind, being able to learn of his routine when producing the very ads that made his name is an invaluable opportunity. The fascinating letter below, written by Ogilvy in 1955 to a Mr. Ray Calt, offers exactly that.
Tracy Tuten

Ad Geniuses - 0 views

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    This is a blog that apparently posted only in 2009. It features 17 ad geniuses and their work. The blog is really interesting - it's a shame it didn't continue. In any case, it is a good resource on some great ad folks. 
Tracy Tuten

A+E Networks CEO Nancy Dubuc, the Duck Whisperer - Businessweek - 0 views

  • Inside a giant tent at New York’s Lincoln Center in May, Phil Robertson strolls onstage. He’s wearing camouflage pants, wraparound sunglasses, and a solid-black long-sleeve shirt that accentuates his signature beard, which is off-white, unruly, and of ZZ Top proportions. Before him are a multitude of linen-draped tables, where media buyers from advertising companies sip wine, nibble on plantain chips, and listen to yet another pitch on how they should spend their clients’ budgets. This is advertising “upfront” season in New York, and Robertson, a cast member on A+E Networks’ runaway blockbuster reality program Duck Dynasty, is one of the stars of tonight’s show.
  • The final episode of the show’s third season, which aired on the A&E channel on April 24, was watched by 9.6 million viewers, according to Nielsen (NLSN), beating everything on both cable and broadcast television that night in the 18- to 49-year-old demographic, including the NBA playoffs and Fox’s American Idol.
  • Upfront season is a festive, testy time of year when every TV network (and, these days, a handful of businesses with large, online video operations such as YouTube (GOOG) and Yahoo! (YHOO)) throws a lavish self-congratulatory party, rolls out its programming lineup for the coming season, and tries to sell ad space in advance. This past season, the proliferation of choices for consumers took a major toll on the traditional broadcast networks, which collectively lost a sizable portion of their viewing audience. “The math says that broadcast erosion is throwing over a billion dollars up for grabs in this year’s upfront,” Berning tells the ad buyers. “If you’re tired of paying a failure tax, we have lots of successful programs for you to invest in.”
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  • It’s a sales pitch that’s been working for A+E Networks, a private New York company owned by Hearst and Disney (DIS) that operates a portfolio of cable channels, including History, Lifetime, and A&E. (A+E is the name of the company; A&E is the name of the channel.) According to data from SNL Kagan, ad revenue at A&E grew from $366 million in 2008 to $477 million in 2012. During that same period, ad revenue at History grew from $310 million to $499 million. A+E Networks generates roughly $1.2 billion of profit on $3.6 billion of annual revenue, according to a network source who was not authorized to speak publicly about the company’s finances.
  • Ad buyers know that over the past year, few companies have done a better job of capturing the fragmented attention of TV viewers. A+E has thrived thanks in part to a slate of reality shows that focus on lifestyles far removed from the office-tied lives of the white-collar, urban strivers who make TV. A+E executives brag that their channels air 18 of the top 50 entertainment shows among adults on ad-supported cable. The current lineup includes Ice Road Truckers (about arctic truck drivers operating in remote, dangerous conditions), Ax Men (logging crews), Swamp People (Cajun alligator hunters), Pawn Stars (Las Vegas pawnshop owners), and American Hoggers (feral pig exterminators in Texas). History recently aired the fifth season of Top Shot, a reality competition in which contestants shoot rifles, handguns, and grenade launchers.
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    Great article on redesign, creativity, upfronts, programming, and leadership
Tracy Tuten

Newsweek Reviving Its 1960s Design for 'Mad Men' Issue | MediaWorks - Advertising Age - 0 views

  • Ad pages at Newsweek dropped 16.8% in 2011, but its fortunes seemed to improve after Ms. Brown's March 14 redesign. Ad pages in the first quarter were down 30.8% from the year-earlier period, then dropped 24.5% in the second quarter, 10% in the third and 3.6% in the fourth, according to the Publishers Information Bureau. Newsweek said its December ad pages were up 15% from December 2010.
  • The "Mad Men"-themed issue, which will be dated March 19, will include a cover story on the series and a feature on the role of advertising in U.S. culture.
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    Newsweek is planning an issue marking the return of "Mad Men" this March by adopting the magazine's 1960s design throughout -- all the way, it hopes, to the ads.
Tracy Tuten

Thoughts on "The dirtiest jobs in digital marketing" - 1 views

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    Today on iMedia Connection, Kent Lewis presents his list of the dirtiest jobs in digital marketing. Since tomorrow's ad class will focus on careers in advertising, let's take a look at what Lewis has to say. You can read the article at http://www.imediaconnection.com/content/37185.asp?imcid=nl#singleview Many of these jobs fall into the "dirty" category because they are tedious. Knowing how these jobs get done can be invaluable for setting realistic objectives in the strategic planning stage. Others are listed as dirty because they are all guts and no glory. We have all done jobs like that at some point in our careers. They build perseverance and grit. *Local search marketer *Online reputation manager *Digital ad sales rep *Link development specialist *Sales and new business development for search and social *Database marketing specialist I'll ask my students to consider these questions: Which of these jobs will still be around in 5 years? Which could they learn the most from as they build a career in advertising? What skills should they acquire now to be prepared for a career in digital marketing?
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    Today on iMedia Connection, Kent Lewis presents his list of the dirtiest jobs in digital marketing. Since tomorrow's ad class will focus on careers in advertising, let's take a look at what Lewis has to say. You can read the article at http://www.imediaconnection.com/content/37185.asp?imcid=nl#singleview Many of these jobs fall into the "dirty" category because they are tedious. Knowing how these jobs get done can be invaluable for setting realistic objectives in the strategic planning stage. Others are listed as dirty because they are all guts and no glory. We have all done jobs like that at some point in our careers. They build perseverance and grit. I'll ask my students to consider these questions: Which of these jobs will still be around in 5 years? Which could they learn the most from as they build a career in advertising? What skills should they acquire now to be prepared for a career in digital marketing?
Tracy Tuten

Intel Launches Creative Review | Agency News - Advertising Age - 0 views

  • Intel is holding a review for its creative business, Ad Age has learned. The move comes after Intel hired Steven Fund as its new chief marketing officer in May.
  • The review is being handled internally by Intel, and the marketer reached out to a small number of agencies, according to people familiar with the matter. Venables Bell & Partners has been handling the creative, and it's believed that the shop is participating in the review.
  • Venables was named lead global agency back in 2009. The marketer switched its agency approach for a couple years after that, moving to a jumpball setup. DDB handled some big campaigns during that time, though the shop does not currently work with Intel. Last summer, however, Venables became lead agency again, starting with the launch of Intel's "Look Inside" campaign.
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  • Work for by Venables includes a few films for Intel's global "Look Inside" campaign featuring blind mountaineer Erik Weihenmayer, 16-year-old medical pioneer Jack Andraka, and more recently, Mick Ebeling, founder of The Ebeling Group and Not Impossible Labs.
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    Intel has invited a small number of agencies to participate in its creative review, including its current agency of record, Venables Bell & Partners. Read about in this article in Ad Age!  http://adage.com/article/agency-news/intel-launches-creative-review/294729/
Tracy Tuten

Introducing the: Video-Text Ad - 1 views

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    Video-Text Ads in the email inbox; merges video advertising and email marketing
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