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Tracy Tuten

20 Best Marketing Books Of All Time | Six Pixels of Separation - Marketing and Communic... - 0 views

www.twistimage.com/...st-marketing-books-of-all-time

marketing books

shared by Tracy Tuten on 22 Jan 14 - No Cached
  • The 20 Best Marketing Books Of All Time (in alphabetical order): The Anatomy Of Buzz by Emanuel Rosen. Before word of mouth marketing became a profession unto itself, Rosen was busy trying to figure out why certain brands get attention and how they do it. This is one of those classic business books that every marketer should read. The Art Of The Pitch by Peter Coughter. If you are in marketing, you will have to get good at presenting and selling your ideas. I've read countless books on the topic, and this is the only one worthy of reading, studying and applying. Woe the marketer that doesn't heed these words. The Cluetrain Manifesto by Chris Locke, Doc Searls, David Weinberger and Rick Levine. If you could point your finger at one book that changed the face of marketing, it would be this one.
  • Influence by Robert Cialdini. An incredible book about how we make decisions and what influences them (hint: it's not what you think)... and this was published long before behavioral economics became so very cool. This is profoundly powerful because of all of the science and research behind this book. Most marketers haven't paid any attention to this book, and it shows in the vast majority of terrible work that we're exposing the public to. The Innovator's Dilemma by Clayton Christensen. Marketing isn't just about the ads. Marketing is also about the product and how to bring it to market. So many companies do everything right and yet still lose market share. If you're interested in marketing and you haven't read this book, it is a must-read.
  • Life After The 30-Second Spot by Joseph Jaffe. Another one of those seminal books that you can look back at and marvel at just how prescient it was. This one is almost a decade old, but still resonates with some very deep thinking about where advertising is going. The Little Red Book Of Selling by Jeffrey Gitomer.
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  • Made To Stick by Chip And Dan Heath. There have been countless books written on viral marketing and how brands should tell a better story. None of them hold a candle to this one. Perhaps one of the best books ever written on how a brand can (and should) tell a story (and how to do it). Never Eat Alone by Keith Ferrazzi
  • The New Rules Of Marketing And PR by David Meerman Scott. This book has been updated by Scott many times over. If you're looking for the ultimate primer on social media, what it means and what it can do, this is the perfect book to bring you up to speed. Ogilvy On Advertising by David Ogilvy.
  • Positioning by Al Ries and Jack Trout. This is one of the "must have" books if you're in marketing. It covers a ton of space on the topic of how to brand products and services and how to place them both in market and in the mind's eye of the consumer. This should be the first book that anyone reads when they enter a Marketing 101 course. Re-Imagine! by Tom Peters
  • The Tipping Point by Malcolm Gladwell. A wise individual once said to me that Gladwell has a knack for writing books that business leaders feel stupid for not having on their bookshelves. Pretty poignant and true. The Tipping Point is great because it helps marketers better understand the inflection point that happens when a product is ho-hum and how it then takes off like a rocket. It's not really science so much as cultural, but it's fascinating. Waiting For Your Cat To Bark? by Bryan and Jeffrey Einsenberg. The Eisenberg brothers posses an expertise unlike any other. They are experts at understanding and explaining the power of marketing optimization.
  • Web Analytics 2.0 by Avinash Kaushik. If you have spent more than two minutes reading any of my content, you will know that I am an unabashed fanboy of Avinash Kaushik, the digital marketing evangelist at Google. In fact, the notion of Sex With Data from CTRL ALT Delete was heavily inspired by Kaushik's work/thinking. Most marketers eyes glaze over when they hear the word 'analytics,' but thankfully Kaushik is here to help make it fascinating and important. This book is packed with ideas about how to think better about your marketing and what it's capable of doing.
  • Where The Suckers Moon by Randall Rothenberg. Most people in my world know Rothenberg as the President and CEO of the IAB (Interactive Advertising Bureau). What most people don't know is that in 1995, he authored this book. A book that is, without a doubt, one of the best books on the advertising industry.
Tracy Tuten

Should VW Follow the Standard PR/Legal Crisis Management Playbook? - 0 views

www.cyberalert.com/...gal-crisis-management-playbook

pr VW 2015 communications ECUadvertising buzz

shared by Tracy Tuten on 29 Sep 15 - Cached
  • The YouGov BrandIndex, which tracks daily consumer perception, found that Volkswagen’s score in the U.S. as of Monday reached its lowest point since at least 2009, reported AdAge. The automaker’s “buzz” score had been hovering in the 10 to 11 range and now it is at -2 and “most likely to drop even further,” according to YouGov.
  • The scandal strikes an enormous blow to the corporation’s reputation.
  • A company that manufactures energy-efficient, or “green,” products like clean-diesel automobiles attains reputational benefits. Those benefits disappear with the loss of trust. The reputation of German manufacturing and the diesel engine product category have also suffered.
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  • The VW crisis falls into the general PR crisis category of scandals and shenanigans that entail often-shocking revelations about a company. They often implicate specific corporate executives or managers. They can involve any type of aberrant behavior including accounting mischief, safety practices, and sexual activities.
  • Other types of crisis include: Accidents and disasters. These cover terrorist activities, plant fires and explosions, vehicle crashes, disease outbreaks, and other man-made catastrophes or natural disasters. Corporate crises in this category can be “no fault” for the company or the organization may bear full responsibility. The BP oil spill on the Gulf of Mexico is an example. Product, service or staff snafus.  These are negative customer experiences caused by employees, usually reported on social media or captured by citizen journalists. The category also involves product defects. Antagonistic attacks. These involve online or offline actions initiated by customers, competitors, activists or regulators who have a bone to pick with your business.
  • While the standard PR crisis playbook can apply to most crises, the Volkswagen emissions scandal is far from typical. It involves intentional government rule breaking, rather than straightforward mistakes involved in other recalls. The wrongdoing almost certainly involves many VW engineers and decision-makers, not just a few people as in many other PR crises.
  • The emissions test fraud was one of the most egregious examples of corporate misconduct in recent times, perhaps exceeded only by Enron’s financial fraud in the previous decade. Unlike most other examples of corporate maleficence, the emissions test rigging impacts most everyone in the world by causing more pollution. 
  • The PR Crisis Management Playbook The standard PR crisis playbook calls for corporations to: Follow a previously prepared crisis management plan that defines the decision-making process, spokespersons, outlets to contact, communications channels, and which stakeholders to update. Act quickly. Quickly disseminating information and responding to media inquiries is essential in crisis communication. The first 48 hours are critical. Silence enables speculation and reflects badly on the brand, as media outlets will publish stories and the public will reach conclusions whether the company comments or not. Be open and transparent. Release all the information you have in an open dialogue with the press and the public, using both traditional and social media channels, including the organization’s website and other owned media. Apologize. Delivering an appropriate, timely and sincere apology is a vital part of responding to a crisis. PR and business executives can learn from previous corporate apologies. Quickly cut ties with company employees, employees of affiliated firms or celebrity spokespeople accused of wrongdoing. Make amends. Provide help for any victims and their families. Demonstrate that the company is taking steps to protect the public. Actions speak louder than words in these situations. Monitor the situation. Employ a media monitoring service to obtain up-to-the-minute reports, identify media mentions that call for responses and gauge the effectiveness of  corporate communications.
  • Tracy Tuten on 29 Sep 15
     
    An overview of the crisis communication approach as it relates to VW given its emissions scandal.
Tracy Tuten

Lights, Camera, Calculator! The New Celebrity Math - WSJ.com - 0 views

online.wsj.com/...4479404575088143982459472.html

students advertising celebrities q-scores e-poll

shared by Tracy Tuten on 02 Mar 10 - Cached
  • To help decide which celebrity is the best choice for a film role or product endorsement, entertainment and marketing executives can tap into a host of numbers to gauge public figures' star power. So many, in fact, that the numbers leave a dizzying portrait of who's hot and who's not. At least four companies regularly track opinion on public figures in entertainment and sports. The venerable Q Score, in its fifth decade, surveys consumers once or twice a year by mail. Three newer competitors rely on the Web, enlisting panel participants to weigh in more regularly. The numbers are marketed to advertisers and casting directors to help them identify celebrities for product pitches or starring roles. But the various ratings sometimes show sharply different results.
  • Last July, 65% of respondents to an E-Poll Market Research poll who were aware of Mr. Woods said they liked him, or liked him a lot. That proportion dropped to 26% in their latest rating, earlier this month. Some 31% found the golfer insincere, while only 2% found him trustworthy (compared with 1% and 28%, respectively, for Tom Hanks in the most recent poll, last April).
  • Davie Brown Entertainment, a unit of Omnicom Group, began polling in 2006, after talking to marketers and ad agencies about the attributes most important to them in celebrity endorsers. The company settled on seven attributes, including appeal, influence and trust. Respondents who recognize the celebrity are asked to rate him or her on each of those attributes on a six-point scale. Then their scores are averaged, and that attribute average is combined with awareness, which is weighted more heavily, to produce the Davie Brown Index. Assigning so much weight to name recognition can yield perplexing results. Mr. Woods's index dropped only modestly, to 80.9 just before his apology from 89.2 a year earlier, in part because slightly more people were aware of him. This helped overcome a plummet in trust, to 43.7 from 68.8. "The overall DBI number is very, very important, but we look at everything," says Jeff Chown, president of Davie Brown Entertainment's talent division. The newest entrant on the scene, Millward Brown, rates celebrities and brands on the same scale, to identify the best marketing fit. Like the Davie Brown Index, Millward Brown's Cebra scores also emphasize familiarity, which is averaged with likability and "buzz," or media attention. Mr. Woods's Cebra score dropped only slightly, to 67 this month from 70 last September. A crash in likability, to 46 from 69, was mitigated by a surge in buzz, to 85 from 74; and a small bump in familiarity, to 70.
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  • Steven Levitt, president of Marketing Evaluations Inc., which produces Q Scores, responds that expecting people to fill out 46 attributes on 25 celebrities in one sitting, as E-Poll does, is unreasonable. His company's relatively simple rating—respondents can either indicate that they don't know a celebrity, or rate him or her on a scale of 1 to 5—allows him to ask respondents to rate 450 celebrities in one sitting, he says. But Q Scores are collected by mail, a time-consuming process that happens at most twice a year, unless a client makes a special request. As a result, the company's latest Woods numbers date from last summer, before he became gossip-page fodder. At the time the golfer had a positive Q score of 28—meaning he was named as a favorite by 28% of the 86% of respondents who recognized his name. His negative Q score—the percentage of those who knew him and rated him only fair or poor—was 19. These figures were little changed from six years earlier.
  • But these numbers can't be truly validated, as most of those who produce them say. There is no way to know if casting someone with a higher ranking in a movie or ad guarantees a bigger box-office take or more sales.
  • Tracy Tuten on 02 Mar 10
     
    From WSJ on new scoring tools for celebrity endorsements; class discussion points on data for choosing celebrities in ad campaigns
Tracy Tuten

Upfront Pitches Don't Shape Fall Budgets, Buyers Say | Special Report: TV Upfront - Adv... - 0 views

adage.com/...242975

ECUadvertising media upfronts

shared by Tracy Tuten on 01 Aug 13 - No Cached
  • The number of presentations has continued to grow, with over 70 events held this year, according to the firm. The addition of the NewFronts, digital video's attempt to steal some ad dollars from TV budgets, has significantly crowded the calendar.
  • "Hundreds of millions of dollars are spent on upfront events… What's interesting to see is just how useful they are and how much they affect marketers and buyers decisions," said Bob Flood, VP-media consultant at Advertiser Perceptions.
  • With the end approaching for this year's upfront talks, where networks secure commitments for ad time in the approaching TV season, research firm Advertiser Perceptions asked over 300 marketers, agency executives and media buyers about the dog-and-pony shows that kick off negotiations. More than half -- 61% -- said attending the presentations didn't affect their decisions about allocating ad dollars.
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  • Unfortunately for any would-be reformers, that annoyance is no license to quit putting on a show. "Anyone absent from the lineup will be noticed," he said. "They serve as a networking opportunity, are buzz-worthy and help develop more trustworthy relationships with the organization."
  • While networks try to outdo each other with celebrity appearance and stadium-worthy musical performances, only 4% called the presence of talent "extremely influential" on their decision to attend, their perception of a network or their ultimate investment. Some 42% rated talent "somewhat influential," while 38% called it "not very influential."
  • Research and data has become an important part of the mix at the upfronts, where networks and web publishers were eager to call out stats favoring their stories. But numbers can be manipulated any way the networks like, Mr. Flood said, and 72% of media buyers and advertisers found the research provided at the presentations only somewhat relevant to their decision making.
  • While big media conglomerates often emphasize the potential of their entire portfolio during negotiations, media buyers and advertisers care more about the power of individual networks, according to the research. Digital video was the hot topic this year, and on that front media executives agreed with sellers, with 75% saying they expected to increase spending in digital video over the next 12 months, compared to just 1% saying they expected to cut it.
  • The actual dollar amount going into the digital space is still small compared to TV, Mr. Cohen said. But there's no question money is coming out of broadcast TV, with 26% of respondents saying they plan to decrease the amount they spend on the Big Four networks. In comparison, 35% of those surveyed plan to spend more in cable TV this year.
  • In what's perhaps a bit of an anticlimax, buyers ultimately rated price as the most important factor. Some 82% of TV decision-makers and 76% of digital decision-makers said attractive pricing is the thing most likely to convince them to spend more. So, networks be warned: It doesn't matter if you have Jay-Z or Kanye West performing if your ads aren't an attractive value.
  • Tracy Tuten on 01 Aug 13
     
    Overview on the 2013 upfront season
Tracy Tuten

Case study: Pitching a relaunch - 18 views

www.imediaconnection.com/...printpage.aspx

case pitch iMedia Rare Method campaign example Bonanza assg

shared by Tracy Tuten on 03 Aug 10 - Cached
  • Tracy Tuten on 03 Aug 10
     
    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. 
  • ...14 more comments...
  • Tracy Tuten on 31 Aug 10
     
    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.
  • Tracy Tuten on 01 Sep 10
     
    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?
  • Chelsea Sweet on 01 Sep 10
     
    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!
  • Tracy Tuten on 02 Sep 10
     
    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!
  • Brittany McKinney on 03 Sep 10
     
    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.
  • Hervey Fisher on 03 Sep 10
     
    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.
  • John Gay on 03 Sep 10
     
    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.
  • Matheson Lassiter on 04 Sep 10
     
    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
  • Casey Szkola on 04 Sep 10
     
    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.
  • Heather Kliefoth on 04 Sep 10
     
    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.
  • Jazzaneta Allen on 04 Sep 10
     
    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
  • Krystal Rogers on 04 Sep 10
     
    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.
  • Heather Love on 05 Sep 10
     
    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.
  • Kristin Winbourne on 05 Sep 10
     
    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.
  • Tracy Tuten on 06 Sep 10
     
    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!
  • Brenna Laffey on 07 Sep 10
     
    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

Digital: Google Sees Facebook Threat in String of Deals - Advertising Age - Digital - 1 views

adage.com/...article

smm ECUAdvertising Google Facebook competition AdAge 2010

shared by Tracy Tuten on 26 Aug 10 - Cached
  • That's the question for the search engine as it struggles to gain a foothold in the fast-growing and here-to-stay social web. That web isn't marked by speed and elegance but rather by pit stops and side roads that allow people to pull over, meet new or old friends, play a game and buy souvenirs. In short, have fun.
  • While Google has had a mostly forgettable history in the space, from Orkut to Buzz, the company's 2010 acquisitions indicate it's buying the talent and technologies to make a play for social, largely through the popular social-gaming space. This month, the shopping spree added up to almost $300 million and included social-gaming company Slide and virtual currency maker Jambool, whose
  • Tracy Tuten on 26 Aug 10
     
    Insightful piece on the competition between Goog and FB
  • Tracy Tuten on 26 Aug 10
     
    Read this to practice social bookmarking.
Tracy Tuten

Adweek's Media Plan of the Year Winners Bristle With Digital Innovation | Adweek - 3 views

www.adweek.com/...stle-digital-innovation-166729

dm smm media 2015 adage ECUadvertising v3 examples cases video image advertising dove #speakbeautiful chp9 listening tweets analysis

shared by Tracy Tuten on 29 Oct 15 - Cached
  • Category: Best Use of Social ($2 million - $4 million) Few marketers, especially beauty brands, have made it their mission to improve their consumers' self-esteem. That's what Unilever brand Dove has done, making inroads since 2004 with its "Campaign for Real Beauty." But a lot can change in a decade. "In 2004 women were fundamentally benchmarking themselves against the images in a magazine," says Cindy Gustafson, managing director of the invention studio at Mindshare. "And in 10 years there's been an incredible seismic shift because of the advent of social media and technology. The fact is this is where women are now taking their self-esteem cues from." Mindshare analyzed 18 million tweets and found that a third of them contained negative beauty or body image content, and women were 50 percent more likely to tweet negatively about themselves. Dove decided to change the conversation and partnered with Twitter for the #SpeakBeautiful campaign, which encouraged women to use social media as a tool for body and beauty in a positive way. Given the image-conscious nature of awards shows, Dove launched #SpeakBeautiful during the Oscars' Red Carpet and published tweets every 30 minutes. It also sent 800 personalized messages to women during the event, hoping to inspire them to send positive messages. The results were impressive: The campaign scored almost 6 million tweets, over 800 million social impressions and reached a unique audience of 13 million. Compared to the Oscars in 2014 there were 30 percent fewer negative tweets and 69 percent more positive tweets about self-beauty. It helped Dove's brand perception, too. Among people who engaged with the campaign, 27 percent had a higher intent to purchase Dove products, according to Nielsen; brand sentiment also increased 17 percent, according to Twitter. —Kristina Monllos
  • Category: Best International Campaign ($1 million - $5 million) No one can dispute the success or ubiquity of Coca-Cola's "Share a Coke" campaign, which substituted the iconic Coke logo with people's names in a bid to personalize their carbonated experience. But how to keep it bubbly? Coke and MediaCom U.K. planted the flag for Year 2 of the campaign in England, giving viewers of Channel 4's 4oD digital catch-up TV platform (now called All 4) a chance to see their own names on bottles—a potential reach of 11 million. Led by Chris Binns, managing partner and head of engineering, MediaCom U.K. latched onto 4oD subscribers' sign-in names to create personalized ads for each viewer, ending the messages with the tagline "Share a Coke With …" followed by the viewer's name on the bottle. In total, the effort generated 4 million dynamically generated, highly personalized TV ads. And 4oD subscribers carried the effort one step further, with many taking to Twitter to register their happiness at seeing their names on the small screen. ("How did the 4oD Coke advert know my name and put in on a can? I'm so confused and happy!" tweeted @remzitomlin.) The effort, says Binns, "delivered that moment to millions of consumers in their own homes, in a natural way while they were doing something they loved [watching TV], rather than … hoping that they would find their bottles on store shelves." Furthermore, campaign awareness in the U.K. rose 17 percent, while ad recall jumped 71 percent and purchase intent gained 24 percent. —Michael Bürgi
  • Category: Best International Campaign (less than $1 million) To give fashion fans a sneak peek at the Alexander Wang x clothing collection at the department store H&M, media agency UM turned to Twitter as "the key to unlock the mysterious box of Wang." The IPG shop aimed to show fashionistas around the world that its client had the most exclusive apparel from a leading designer, and it built buzz (while downplaying competitors' campaigns) by focusing on bloggers and social media influencers in the high-fashion vertical. First, the client created a literal box that appeared in London's St. Christopher's Place. Curious fans could only view the fashion-forward contents of the box by tweeting the campaign's hashtag, and H&M followed by sending both personalized tweets and images/videos of the Wang items in question to these aficionados. Using this strategy, UM was able to create significant hype around the collection's release, despite having a smaller budget than previous campaigns. UM creative director Marcia Siebers says the campaign was "a direct consequence of our unique relationship with H&M," adding that the live personalization "built anticipation for everyone who got involved" and delivered a unique experience to both those who visited the physical site and those who watched online with "the speed that our fashionista customers demand." The campaign led to a 32 percent increase in positive mentions among influencers when compared to the client's preceding launch. It also facilitated a 179 percent monthly bump in Twitter mentions, with 80 percent of users tweeting about the collection more than once. Most significantly, all six London H&M stores sold out of the collection within 24 hours. —Patrick Coffee
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  • Category: Best Use of Native Advertising ($1 million - $2 million) No one said it would be easy to talk The New York Times into covering the daily paper with native content. But Shell, in partnership with media agency MediaCom, is on a mission to get consumers to see it as a progressive energy-solutions company rather than an oil giant, and leaned on the reputation and credibility of the venerable newspaper to help sway minds. Led by Larry Swyer, managing partner and group account director (Shell) and Geoff Campbell, partner and senior director of content, MediaCom worked hand-in-hand with the paper's in-house production unit, T Brand Studio, leveraging its storytelling expertise to create "Cities Energized: The Urban Transition," a print and online experience incorporating features such as augmented reality, documentary-style video and interactive data elements. The print component included an eight-page section made of translucent vellum wrapped around the paper. Video content could be accessed by users holding a smartphone over native pages and using the Blippar app. Online elements bristled with multimedia bells and whistles that included infographics, parallax scrolling, data visualizations and documentary videos, including one that used a drone to tell the story of Detroit's efforts to get greener. That is ultimately Shell's message, too, as it strives to become a leader in sustainability. All told, the effort generated 82 million impressions. Brand favorability, according to Millward Brown, surged from a negative score to a healthy positive (from -9.1 in the prior year to +23.5 during the campaign). Trustworthiness also improved (from -0.5 to +28.3). Meanwhile, a YouGov ranking of oil and gas brands found Shell atop the competition, specifically citing the Times effort as an influence.
  • Category: Best Use of Branded Content/Entertainment ($500,000 - $1 million) Subaru's claim to fame are its top-selling crossover models: the compact Forester and the midsize Outback. So, when it was time to roll out its new midsize model, the 2015 Legacy, Subaru had a challenge on its hands. To prove the Legacy shared DNA with its popular cousins, agency Carmichael Lynch enlisted the auto experts from Roadkill, the most popular show on Motor Trend's YouTube channel, to kick the tires. The Roadkill crew tested the Legacy's symmetrical all-wheel drive against three of the auto enthusiasts' most famous project cars: the 1968 Ford Ranchero, the 1968 Dodge Charger "General Mayhem," and the turbo Chevy-powered '71 "Rotsun" 240Z. The Legacy challenged these cars at a figure-8 obstacle course, the DirtFish Rally School and through a post-apocalyptic neighborhood. The 47-minute video (Roadkill's longest) generated more than 2.2 million views, which topped its expected episode viewership by 69 percent. It has received 16,000 YouTube thumbs-ups, a 96 percent positive sentiment rate and over 35,000 likes on Facebook alone—and even a brand-friendly thread on Reddit. The video contributed to a 72 percent increase in monthly sales of the Legacy from prelaunch levels. —Tim Baysinge
  • Tracy Tuten on 29 Oct 15
     
    Top media plans of 2015
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