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Tracy Tuten

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

  • 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).
  • 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.
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  • 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.
  • 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.
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    From WSJ on new scoring tools for celebrity endorsements; class discussion points on data for choosing celebrities in ad campaigns
Tracy Tuten

MediaPost Publications Endorsements Don't Earn Trust For Marketers 11/07/2013 - 0 views

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    On the value of celebrity endorsements in advertising
Tracy Tuten

To Introduce Justin Bieber's Girlfriend Fragrance, a Social Media Campaign - NYTimes.com - 0 views

  • As befits a performer whose following is concentrated so much among young people, the campaign to promote Girlfriend, with a budget estimated at $20 million, is focusing on social media like Tumblr and Twitter. Mr. Bieber’s Twitter feed is followed by almost 22.9 million people, and he has close to 44 million “likes” on Facebook.
  • The new media aspects of the campaign will also touch on the ads appearing in traditional media. For instance, Mr. Bieber is going on Facebook and Viddy, a mobile video sharing service, this week to invite fans to enter a “sing-off” on Tumblr to help create a 60-second television commercial for Girlfriend.
  • The agency working on media planning for the Girlfriend campaign, Media Kitchen in New York, part of the Maxxcom Global Media division of MDC Partners, also handled those duties for the Someday campaign.
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  • Traditional media has a place in the campaign, Mr. Lowenthal noted, citing the commercial and print ads, photographed by Ben Watts, that will run in magazines like Cosmopolitan, Glamour, Seventeen and Teen Vogue. They can be amplified by new media outlets that are fueled by the fervor of “all the fans who want to get closer to Justin,” he added.
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    Fragrance No. 2, called Justin Bieber's Girlfriend, is scheduled to arrive the week of June 18 at Macy's stores, and will also be available this month at retailers like Belk, Dillard's, Nordstrom and Sephora. Girlfriend will arrive a year after the introduction of the first scent endorsed by Mr. Bieber, Someday, which became the best-selling celebrity fragrance ever and the best-selling new women's fragrance of any kind brought out in 2011. As befits a performer whose following is concentrated so much among young people, the campaign to promote Girlfriend, with a budget estimated at $20 million, is focusing on social media like Tumblr and Twitter
Tracy Tuten

M&M's to Unveil a New Speaking Role at Super Bowl - NYTimes.com - 0 views

  • Ms. Brown is the second female in the M&M’s cast, after Ms. Green, and like her colorful counterparts she will be imbued with a distinct personality. Ms. Brown is an intelligent woman with a sharp wit who finally decided to reveal herself after working for decades behind the scenes as “chief chocolate officer.”
  • Their devotion to the Super Bowl comes at no small cost. NBC is charging an average of $3.5 million for each 30 seconds of commercial time in the game, compared with an average of $3 million for each 30-second spot in Super Bowl XLV on Fox in February 2011. Even at that price, commercial time for Super Bowl XLVI has been sold out since Thanksgiving, NBC recently disclosed.
  • One way to ensure that a Super Bowl commercial is “not a splash, a flash in the pan,” Ms. Sandler said, is to make it the centerpiece of an elaborate campaign that takes place before, during and after the game. In fact, the spot will serve to “kick off a year of activity” to introduce Ms. Brown, she added.
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  • In a teaser effort that begins this week, Ms. Brown will arrive in social media, taking over the M&M’s fan page on Facebook, at facebook.com/mms, and sending messages on Twitter, where the character will have her own account with the handle @mmsbrown.
  • There will also be print, online and mobile ads as well as a deal to incorporate Ms. Brown into the radio program “Elvis Duran and the Morning Show,” syndicated by the Premiere Networks unit of Clear Channel Communications. Other elements include events in Los Angeles and New York, displays in stores, radio commercials and appearances for Ms. Brown during episodes of the new season of “The Celebrity Apprentice” on NBC, which begins on Feb. 12.
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    M&M's has new character in cast!
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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  • 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.
  • "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.
  • 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.
  • "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

Doug Prey's Documentary on '70s Admen, Surfers, Not Smokers - NYTimes.com - 0 views

  • Mr. Pray celebrates a later generation of mavericks who changed the business in the ’70s. His heroes are titans like Lee Clow, Dan Wieden, Hal Riney and George Lois
  • The film consists mostly of these men (and a few women, including the formidable Mary Wells) talking about how they work
Tracy Tuten

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

  • 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.
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    Overview on the 2013 upfront season
Tracy Tuten

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

  • 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.
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    An overview of the crisis communication approach as it relates to VW given its emissions scandal.
Tracy Tuten

10 Top GEICO TV Commercials: Gecko, Cavemen, and Beyond - 0 views

  • If the phrase “an embarrassment of riches” can be applied to any advertising campaign, it can certainly be applied to the long running series of GEICO TV commercials. In the past 15 years, GEICO has made the pedestrian line “Fifteen minutes could save you 15 percent or more on car insurance” memorable through a shrewd combination of good, old-fashioned sheer repetition and one of the most prolific and varied advertising efforts in living memory. They’ve made advertising icons out of a Gecko and modern-day, still-living-among-us Cavemen, along with a veritable cavalcade of odd characters, near-celebrities, and even other consumer products. Here’s a brief sampling of some of the best GEICO TV work of the past decade, and then some. This is a completely unscientific sampling. And no googly-eyed “Kash” spots either. Just sit back and enjoy.1. Self-Licking DogThis is the proverbial “oldie but goodie.” Just the right amount of “eww” and a harbinger of things to come.2. Squirrel Hi-FiveWe always knew there was a great squirrel conspiracy. We just had no idea it went this far.3. Mrs. Butterworth“Someone’s placed a logo right over my face!” Simply classic.4. The First Gecko SpotIf not for the Screen Actors Guild strike of 1999, we may have never seen the birth of this endearing character voiced here by none other than Kelsey Grammer.5. Airport CavemanTo this day, perhaps the most enduring spot of the Caveman series. Sold lots of singles for the band Röyksopp, too.6. Into the wall"Listen, go-kart track, grocery store, those remote-controlled boats; when it comes to Mike Wallace, the story ends with me putting him in the wall."7. Butta and JamIt was this one or “Free Pie and Chips.” In the end, the Gecko’s “That’s a complete dramatization, of course, but you get my point,” puts this one over the top.8. Caveman Therapy OneTalia Shire! Brilliant casting, and who doesn’t love “My mother’s calling; I’ll put it on speaker”?9. Trust ExerciseTwo words: “Oh, dear.”10. Charlie DanielsBest of the new Robert Stack “Unsolved Mysteries” Parodies. “That’s how you do it, son.”
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    A review of our favorite Geico commercials courtesy of Miami Ad School. Videos included at the site. 
Tracy Tuten

Campaign Spotlight - Campaign Commemorates Oscar's Big Apple Connection ('French' and O... - 0 views

  • A campaign is under way in New York to promote a weeklong celebration of the Academy Awards — the film industry’s equivalent of New Year’s Eve in Times Square
  • The campaign is being sponsored by NYC & Company, the city’s official tourism, marketing and partnership organization, which is staging the week’s events in collaboration with the Academy of Motion Picture Arts and Sciences. The goal is to stimulate interest in the 82nd annual presentation of the Academy Awards, scheduled for Sunday, with activities in New York carrying the theme “Oscar and the City.”
  • The public events, which start on Monday, include screenings of Oscar-winning films with New York themes as well as exhibits of Academy Awards and film posters. The week is to culminate with an “Oscar Night and the City” viewing party on Sunday, at Alice Tully Hall at Lincoln Center, where paying guests can watch the ABC broadcast of the show.
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    NYC launches campaign to associate itself with the Oscars. Campaign builds on earlier one highlighting quotes from movies with a NY tie-in. Media buy = $200,000; includes some social media and out-of-home.
Tracy Tuten

The End of an Era: No More CP&B and the King - 0 views

  • Today, AdFreak celebrates seven years of CP+B and Burger King with a list of the 15 campaigns we're still talking about, for better or worse.
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    AdFreak: Crispin's 15 best campaigns for Burger King
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