By Bill Duggan, Group EVP, ANA
Posted: Mar 12, 2012 12:00am ET
One of my daughters is in her high school band. An annual fund raising activity for the band is the sale of citrus-those grapefruits and oranges are just delicious.
When our delivery arrived recently I found it curious that a box of oranges was labeled "California Navels" and included an outline of the state of Florida with the initials LBG. California oranges from Florida?
This reminds me, yet again, that every touch point a product has with the customer is a branding opportunity. Marketers need to use those touch points wisely or suffer the consequences. Branding is no longer just about an ad campaign; rather, it consists of so much more - the call center, counter staff at retail, service at restaurants, web site, packaging, etc..
A quick web search provided lots of background on LBG. Langdon Barber Groves, is based in Florida, and "has been meeting the fundraising needs of all types of organizations since 1966. Our approach ... is to provide a healthy alternative to the cavities and calories of other fundraising products."
Reading that told me something very special about the company and made me feel good about them. LBG has a great opportunity to make their packaging harder working-yes, a branding opportunity-rather than confuse me re: California oranges from Florida.
By Bill Duggan, Group EVP, ANA
Posted: Mar 9, 2012 12:00am ET
I love the new Target "Color Changes Everything" campaign. The advertising is fresh and memorable. It communicates a clear benefit-get this-without a single spoken word of English in the advertising. Watch it here.
I'd love to see the creative brief that led to this work. Clearly, the client wasn't asking for a laundry list of benefits and support points to be shoe horned into the advertising. There's been a lot of chatter in the industry lately about the poor state of creative briefs. In Target's case, a simple brief helped lead to simply outstanding work.
Here's how good the advertising is - yesterday I saw a 30-second execution and was actually disappointed that it wasn't the 60! It's hard to remember the last time I saw a commercial and wished it was longer.
Kudos to Target and its agency!
By Ken Beaulieu, senior director of marketing and communications, ANA
Posted: Mar 5, 2012 12:00am ET
I recently interviewed Chris Burggraeve, chief marketing officer at Anheuser-Busch InBev and president of the World Federation of Advertisers, in advance of his address at the ANA/WFA Global Marketing Conference on March 14 in New York City. He offered a veritable treasure trove of insight on building a global brand, introducing new products to new markets, reaching consumers at a local level, capitalizing on digital media, and meeting the needs of society across the world. I can't thank him enough for his time and candor.
Over the next few weeks in this space, I will share Chris' responses to my list of questions. Let's get it started:
Q. When it comes to implementing a global marketing strategy, why is it important to understand the strengths of your competitors in each market, especially new competitors?
Chris: For a global top five FMCG like we are, with 200-plus brands, three of which are global (Budweiser, Stella Artois, and Beck's), having a strong global marketing capability is critical, but marketing can never win the fight alone. One can only win over the long haul by sharing a same culture, by being systematically better operators, by being systematically better at bottom-line management, and by being superior at topline management. Within the topline capability, the key is to be better at resourceful brand building than the competition - in every country where we operate, and across countries.
For us that means having a clearly articulated AB InBev "Way of Marketing," rigorously implemented globally by all our marketers and clearly supported and understood by our operators. The AB InBev Way of Marketing is about art, science, and discipline. It is the one language spoken by all. It consists of three key pillars. The first pillar relates to brand portfolio management, starting with proprietary demand segmentation models aimed at capturing existing, latent, and emerging demand. The second is about connecting in relevant and efficient ways with our drinkers. The third pillar is all about ongoing renovation and innovation. All our marketers go through a total of 24 modules in our AB InBev Marketing University - and the training never stops. Many people from other functions also go through a marketing training "boot camp," as marketing is too important to be left to the marketers only. The AB InBev Way of Marketing is part and parcel of our overall company performance and reward system, and it is clearly linked to our overall business model. It is designed to create sustainable brand health. And we all share a deeply held belief that "brand health today, is topline growth tomorrow."
In our strategic planning and outlook sessions each year, we assess our progress versus our own stated dream of "becoming the best beer company in a better world." We see if the deeper underlying values held by consumers have changed, whether new products have appeared that serve the same consumer need as our beers, how our industry is perceived differently by stakeholders, etc. Of course, we always take a step back to see what we can learn from existing and new competition. All the input is then used to make choices and various time horizon plans for every global function, including marketing, and for every country.
By Bill Duggan, Group EVP, ANA
Posted: Mar 2, 2012 12:00am ET
The Today Show on March 1 witnessed a horrific collision between content and advertising. Within the first fifteen minutes of the show, a segment aired about a cruise ship that had lost power while in the Indian Ocean. According to the segment, it took three days to tow the ship into port, through waters known for pirate attacks, and during that time passengers endured stifling heat and had to spend nights sleeping on the top deck. The cruise ship belongs to Carnival and the story noted that this was the line's second PR disaster in less than two months, while flashing to images of the Costa Concordia still on its side off the coast of Italy.
It only took ten minutes for the next PR disaster.
During the very next commercial break an ad for Carnival ran - the one with the Todd Rundgren track ("I don't wanna work, and wanna bang on the drum all day") opening with a teen age girl blowing a big bubble watching dad totally unwind on the cruise vacation.
Why, why, why - in this day and age isn't someone at the network (or local station level) monitoring the news content and looking at the commercial log to make sure embarrassments like this don't happen? Advertisers deserve better.
This is an age old issue. But the stakes are higher now as mistakes like this are amplified via social media.
My guess is that the Carnival spot aired in a local break on WNBC in New York (and perhaps other markets). But checks and balances need to be applied at both the national and local levels.
By Caitlin Nitz, Knowledge & Research Specialist
Posted: Feb 27, 2012 12:00am ET
The old saying "Don't judge a book by its cover," is more relevant than ever in today's Web 2.0 world. From LinkedIn to online dating profiles, we now judge other people based on tiny 100x100 pixel images. Never before has image control and personal promotion been more important to get a job, a boyfriend, and now a good seat on an airplane.
KLM, a Dutch airline, has introduced its "Meet & Seat" program, which lets passengers pick who they'd like to sit next to during the flight by browsing other passenger's Facebook or LinkedIn profiles. The airline touts it as an opportunity to sit next to someone "interesting" and "expand your network." Promotions for the program on the airline's website feature two handsome young business men meeting at the airport lounge before the flight, chatting it up onboard, and sharing a cab ride into the sunset after landing.
It's all so wonderfully naïve. I can't help thinking that Meet & Seat could create the blind date from hell, where there's literally no exit strategy and no "emergency phone call" from your best friend to rescue you.
Thank goodness the Meet & Seat fine print reads, "every passenger reserves the right to change his or her seat and KLM reserves the right to assign or reassign a seat at any time, even after boarding of the aircraft" - in case you did a poor job of judging that book by its cover.
By Bill Duggan, Group EVP, ANA
Posted: Feb 22, 2012 12:00am ET
"The reports of my death are greatly exaggerated." Mark Twain uttered those now famous words in 1897 upon hearing that his obituary had been published in the New York Journal.
In recent years, many pundits have been predicting the death of television. At the ANA TV Forum in 2003 there was a session titled "Is Commercial Television (as we know it) Dead?" which was described as follows: a challenge to stop the madness of spending billions of dollars in a medium where returns are increasingly hard to get. Thought
leader and creative thinker Joe Jaffe (and a friend of ANA) published a book in 2005
called "Life After the 30-Second Spot" which was pretty much an obituary of television.
But alas, the recent Grammy Awards were watched by 39 million viewers - the second highest all-time and best showing since 1984. The Super Bowl was watched by 167 million viewers and set a new record as the most widely viewed event in American television history. The average household watches 8 hours 29 minutes of television a day - also an all-time high. Now, it's the American television industry that has the right to say, "The reports of my death are greatly exaggerated." This resurrection of the industry has been brought on via vitality in traditional television as well as new opportunities with TV and video. Some of those new opportunities are described below.
For the past year ANA and Canoe Ventures have worked together on a study measuring the effectiveness of ITV. The insights were promising as key brand metrics-including brand recall, likelihood to seek additional information, and likelihood to purchase-were
significantly higher when accompanied by a RFI interactive offer.
"Social TV," a term most of us hadn't even heard of a couple years ago, provides a platform for consumers to interact online with one another as well as with programming and brands.
Online video remains hot-YouTube, VEVO, Hulu, pre-roll, post-roll, etc. Jack Myers predicts +48% annual growth for online video advertising revenue over next the next four years.
Out-of-home video (also called digital placed based media) is everywhere-in stores, gas stations, airports, elevators, taxi cabs, and more. According to the newest ANA/Forrester survey, 63% of marketers agree that out-of-home video is increasingly important.
And then there's mobile. 2011 seems to have finally been the year of mobile. I recently heard a prediction that by 2016 there will be 7 billion people in the world and 10 billion mobile phones. Wow.
"The reports of my death are greatly exaggerated."
Mark Twain, 1897
Television (& Video) Industry, 2012
By Bill Duggan, Group EVP, ANA
Posted: Feb 13, 2012 12:00am ET
At this week's ANA TV & Everything Video Forum, separate research from ANA/Forrester and ANA/Canoe Ventures will reaffirm that ITV is coming on strong.
According to the ANA/Forrester work, 24% of marketers are currently experimenting with request for information (RFI) ITV ads and 13% more plan to experiment in the next twelve months.
Meanwhile, for the past year ANA and Canoe Ventures have worked together on a study measuring the effectiveness of ITV with ANA members Fidelity, GlaxoSmithKline, Honda, Kimberly-Clark and State Farm. The insights were promising as key brand metrics were significantly higher when accompanied by a RFI interactive offer. Metrics included brand recall, likelihood to seek additional information, and likelihood to purchase.
Stayed tuned for the full reports from ANA/Forrester and ANA/Canoe.
By Bill Duggan, Group EVP, ANA
Posted: Feb 8, 2012 12:00am ET
Marketers are optimistic on the future application of set-top box data to help guide television media purchasing decisions. That is one of the key findings in the latest ANA/Forrester Research survey that asked national advertisers about their attitudes towards television and video advertising and the impact new technologies will have on their advertising budgets.
Seventy-two (72%) percent of marketers believe the quality and accuracy of set-top box data will improve in the next few years. Meanwhile, 48% feel the same about Nielsen audience ratings.
The survey also asked, "What sources of data do you trust to make TV media purchasing decisions?" A 10-point scale was used ranging from ‘don't trust at all' (#1 on the scale) to ‘trust greatly' (#10 on the scale). Set-top box data held its own on this metric as well.
- 31% were in the top three boxes for set-top box data being a trusted source
- 38% were in the top three boxed for Nielsen Media Research being a trusted source
This is interesting given that Nielsen has been the long-term currency for the television industry. However, more recently advertisers and agencies have expressed keen interest in the data potentially available from set top boxes. ANA members, for example, have been clear about their interest in brand-specific commercial ratings-not just the average rating for all commercials in a program, currently provided by C3, but the actual ratings for each individual commercial. Set-top box data could potentially be a pathway to brand-specific commercial ratings.
David Cooperstein, VP, Practice Leader at Forrester Research and ANA's partner on this survey says, "This is a call to marketers and to Nielsen that modernization is on the way."
The detailed findings from the ANA/Forrester survey will be debuted at the ANA TV & Everything Video Forum on February 16 in NYC.
By Bill Duggan, Group EVP, ANA
Posted: Feb 7, 2012 12:00am ET
Recently, the Federal Communications Commission adopted rules implementing the Commercial Advertisement Loudness Mitigation Act (CALM Act). The act responds to years of consumer complaints that the volume on some commercial advertising was much louder than that of programming and requires broadcasters to ensure that the sound level of commercials is the same as programming. It will go into effect December 13, 2012.
In the past there obviously have been some advertisers (and their agencies) who, either inadvertently or intentionally increased the audio volume of their commercials. The CALM Act prevents that as of December 13, 2012.
The main enforcement burden of the act lies with broadcast and cable stations as well as multichannel video program distributors (known as MVPDs and examples include Comcast and Verizon FiOS) and requires them to adopt industry technology that ensures commercials aren't louder than regular programming.
It is expected that most stations/distributors will require that commercial materials be delivered meeting specifications adhering to the acceptable sound levels. At least one major network has stated that they will not be adjusting commercial sound levels and reserves the right to reject any commercial material that does not meet the requirements.
ANA's sister trade associations, the 4A's (American Association of Advertising Agencies) and AICE (Association of Independent Creative Editors, which represents editorial and post-production houses) are well aware of the CALM Act and will inform and remind their respective clients of the act, when necessary. The majority of advertisers simply need to be aware of the CALM Act and no action is required. Marketers who produce/finish commercials in-house need to know the detailed requirements for compliance and have updated materials specs from all stations in their media buy.
As we get closer to the December 2012 effective date of the act, ANA will provide additional reminders as well as any new relevant information.
By Rick Knecht
Posted: Feb 6, 2012 12:00am ET
In honor of the recent Super Bowl, probably the only broadcast of which anyone says proudly "I only watch for the ads," I thought I'd say a few words in defense of the seemingly lost art of jingles.
A jingle is a short song which is part of (or sometimes the entirety of) an ad. It often contains the brand's tagline, slogan, or phrasemark. Jingles promote retention. They're meant to be catchy and memorable. A good jingle will stay with you for days or weeks. A really good jingle can be recalled for years.
Think I'm kidding? I can sing an entire Toys 'R' Us 15-second spot from 30 years ago. I can also sing the entire 30-second spot from their local competitor, Lionel Kiddie City, and they've been out of business for almost 20 years.
Lean over and start singing to your co-worker, "My baloney has a first name..." and I bet more than half will sing back, "It's O-S-C-A-R!" Why are we stuck on Band-Aids? "'Cause Band-Aids stick on me!" Plop, plop, fizz, fizz... yep, you know the next line. Gotta get me some Kibbles-N-Bits? Or the indelible bouncing ball timing "Meow meow meow meow meow" of Ralston Purina's Meow Mix?
Let's not forget one of the best-known jingles of all: "I'd like to buy the world a Coke." The ad became so popular that the New Seekers actually reconvened in a studio and recorded it as a full-length song, which became a hit. (A later update of the ad for Super Bowl XXIV in 1990, starting with the original singers and bringing in their kids, wasn't as successful.)
And lest you think jingles only happen on TV, consider the still-running radio ads for Melrose Diner Restaurant in Philadelphia. I don't even know where the Melrose is on a map, and I've never eaten there, but I do know that "Everybody who knows... goes... to Melrose!"
Jingles have undeniable power. They last. They hang around long after the campaign is over, happily keeping your brand in the minds (and on the lips) of your customers without you having to lift a finger or spend a cent.
So where are the jingles today?
Consider the advertising from the Super Bowls of the last five years. Sure, you can name some of the spots, for creativity or controversy. Could you sing any of them?
A jingle is just a short song about a brand, with a strong hook. The hook gets stuck in your head and gets repeated. Encourage that by heavy rotation, and you have the perfect recipe for brand retention. Why aren't more brands creating and using jingles?
Marketers are failing to tap the tremendous potential of the zeitgeist (today we call it "going viral") if we overlook something as simple as a jingle to get our customers' attention.
Music helps us remember. That's why so many bits on "Sesame Street" feature singing: to help children remember the alphabet, numbers, street signs, measurements, and so on. It was the genesis of "Schoolhouse Rock," the three-minute interstitials which ran on ABC between Saturday morning cartoons, teaching an entire generation about grammar, multiplication, history, science, finance, and how a bill becomes a law. ("I'm just a bill, oh yes I'm only a bill...")
Sure, a good slogan will become part of the collective consciousness: "Don't leave home without it" and "Where's the beef?" are still associated with American Express and Wendy's, decades after the companies have moved on to other taglines. But when you think about GE's "We bring good things to life," don't you find yourself singing it rather than just reciting it? When you open with "Like a good neighbor," isn't the immediate response to sing "State Farm is there"?
A solid catchphrase is lightning in a bottle. Set it to good music, and broadcast the hell out of it, and now you have a power station.
Wouldn't you like to be a Pepper too?