Sorrell Trades Tips on Winning With U.K. Cycling Expert


In an unusual turnaround, WPP Group CEO Martin Sorrell was asking the questions rather than answering them on the opening day of the first Advertising Week Europe, which is being held in London from March 18-21.

Mr. Sorrell’s preoccupation with winning was clear as he interviewed Dave Brailsford, performance director of the Great Britain cycling team that won 12 medals at the London 2012 Olympics, including eight gold medals.

“Can you give us some tips so that everybody in this room can be a winner?” asked Mr. Sorrell, no stranger to success himself as the head of the world’s largest communications group.

Continue reading at AdAge.com

GE Lets You Filter Out Crap Content from Buzzfeed


Are you an all-celebrity kind of reader, or do you like a bit of politics too? Or, are animals and tech more of your thing? GE has taken over on Buzzfeed today, with an Efficiency Machine, created by Buzzfeed Labs, that lets you tweak the content to your own preferences.

Choose your mood (funny, normal or serious), fine tune what kind of content you want (tech, politics, celebrity, etc.) and then factor in other features (such as “trashy” or “geeky”). Activate, and the page will recalibrate with your preferences. Oddly, there don’t appear to be any filters to remove advertising.

For more of the best in brand creativity, head over to Creativity-Online.com, and follow @creativitymag on Twitter.

Continue reading at AdAge.com

10 Steps To A Successful Social Media Strategy

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Despite the fact that most Americans have embraced social media, recent studies show that as many as 72% of businesses that have a social media presence do not have a clearly defined social strategy in place. Without a clear social strategy, building a successful social presence that inspires customer loyalty and engagement is nearly impossible.

Is your business one of the 72%? The good news is you are not alone. If you’re just starting to develop your social media strategy, or taking a second look at a strategy that just isn’t paying off, here are some best practices to make the most of your company’s social presence.

1) Pick One Social Channel And Do It Well

If you don’t already have a social strategy in place, it can be daunting to figure out where to start. Facebook, Twitter, Linkedin, YouTube, Google+, Pinterest, Blogging, Slideshare, Tumblr… there are hundreds of social media engagement platforms. First, determine one social media channel that will best suit your business goals, and the level of engagement you are looking to achieve. Choose the channel most popular with your customer demographics. You can always grow your presence further in additional channels, but picking one, and investing the time and resources to get it right, is a great way to get started without being overwhelmed.

2) Being Social = Engagement

Companies that have a beautiful brand presence on a social channel, but do little to interact and engage with social fans and followers are not doing themselves any favors in the long run. If potential customers are coming to your brand’s social pages with questions, comments or stories and are not receiving any response from the company, they will not remain loyal customers for very long. Someone from your company needs to be manning the virtual service counter and actually providing the same level, or better, of service customers would expect to find in stores. Simply stated: when people ask questions on your social page(s), it’s rude to ignore them. If you don’t have the resources to engage in social conversations with the fans you’re cultivating online, you’re not ready to put a social strategy in place.

3) Are You Listening?

We take social listening seriously at LivePerson and we think you should too. There are a number of social monitoring tools available with varying degrees of cost and sophistication. Deploying a comprehensive social monitoring tool is critical for a social strategy. A good tool should be able to track mentions across a variety of digital channels including online articles, blogs, press releases, forums and public social channels. Look for a tool that also tells you who your key audience members/influencers are, provides sentiment analysis and audience demographic details as well. What should you be listening to?

The first monitor to set up should be for keywords associated to your brand name(s). You will find tremendous value if you extend your listening further by monitoring keywords common in your industry, competitor names, product keywords and other relative terms. Knowing what conversations are taking place online can help you understand your customers and their needs better, which means you can sell to them more effectively.

4) Establish an Internal Policy

Whether or not your industry or organization requires you to have an internal policy governing employee participation in social channels, it is important to have one in place. I have seen social media policies that range from a few paragraphs to many pages– different businesses will have different requirements. Independent of any regulations your business may be required to adhere to, it’s a good idea to spell out not just what employees should refrain from talking about on social channels, but, more importantly, spell out how employees are encouraged to participate.

Some of the best social advocates for your business are your employees and they should feel empowered to participate in the social conversation, with a clear understanding of the acceptable boundaries. The business will benefit from employees helping spread corporate messaging across their own networks since this creates increased social reach and engagement opportunities.

5) Eliminate the Noise

As we’ve already seen, many companies rush to the social conversation without a plan, which can frequently lead to accounts that are created then quickly abandoned after priorities fluctuate or internal ownership for social accounts changes hands. If your brand has dormant social accounts, take whatever steps necessary to remove them from social sites. An excess of inactive accounts can create confusion to customers who may be trying to find your real brand presence.

Similarly, it’s important to carefully consider how many corporate accounts your company needs to be effective within the each social channel. For example, some companies have multiple branded twitter accounts to address specific audience needs. Perhaps one for marketing messaging, and another for support messaging, and yet more to target various international audiences.

In most cases, multiple accounts are simply not necessary and should be avoided unless you have specific business goals that warrant multiple communications channels. Streamline your social presence into as few accounts as absolutely necessary to keep communication lines consistent and easy for your audience to find.

6) Be Human

Customers love brands, but they want to communicate and connect with people. Even when posting social messaging in the voice of the brand, it’s good to let your social audience know who is behind the logo. For example, some companies have tweets signed off with a name or set of initials, especially if a number of representatives manage the company’s social stream.

This helps customers feel like they are truly connecting with an actual human being and gives them a better sense of connection with the company’s representatives. It also helps the customer know they have some consistency in their communications, and that they are being taken care of by the same individual over multiple communications. If you are using social for customer service inquiries, adding an element of human touch is particularly useful.

7) Don’t Ignore Social in a Crisis

Things happen. None of us like it, and we all do our best to avoid it, but sometimes things go wrong outside of our control. If you have active social channels, it’s important to have a plan in place as to how social communications will be managed in a crisis situation– before the crisis actually happens. You can’t leave it to chance, as it may only make a bad situation a lot worse. A recent example of success can be found in Con Edison’s Manager of Public Affairs, Kate Frasca’s handling of ConEd’s twitter account during Hurricane Sandy. Their crisis plan won them a lot of points with their social audience, which grew from 800 to 22,300 twitter followers in the span of a week. Again, having a social media monitoring tool in play (tip #3) is essential to managing a crisis successfully.

8) Protect The Brand : Be Careful Who Has The Keys

It is all too easy to accidently tweet something from the corporate account thinking that it’s your personal account, which can lead to disastrous consequences for the brand. It seems like every week the media is highlighting some dire social media blunder. Check out The 20 Biggest Brand Disasters to see how things can really go wrong. Some companies are savvy enough to turn these kinds mistakes into PR wins– check out this Red Cross blunder— but those cases are rare so its best to avoid at all costs. Hire seasoned social media professionals to handle your communications. For more junior staff, put tools in place that require tweets and other posts to be approved before being published to add an extra layer of protection.

9) The Mobile-Social Revolution is Upon Us

If you don’t have a mobile-optimized website or app, having a strong presence on social channels is even more important for your business. According to Nielsen’s State of the Media: Social Media Report 2012, time spent on mobile social apps is up 76% in 2012 from 2011, and 30% of the total time spent on a mobile device is consumed by surfing social networks.

As a result, make sure your social presence addresses the needs of mobile customers. Include maps, directions, phone numbers and other geo-location services on your social sites. Also, since 73% of consumers say they have used their mobile phone in a store for things like product information and assistance with buying decisions, you should offer content through your social sites that cater to in-store consumers.

10) Stay Current

One thing that’s guaranteed about social media is that change is always on the horizon. Sites gain and lose popularity very quickly, new features are popping up all the time, which is both exciting but also a little unnerving. Take a look at Pinterest. A year ago very few of us had heard of it, and now it’s the fastest growing social media site in history, and enjoying as much as a 400% month-over-month growth. Before setting up a branded page on any social site, first try it out as a regular user to get the hang of it.

Then take time to identify business reasons for setting up a branded page and ensure you have the resources to maintain the new account once you get it started. Also, existing social channels are constantly evolving and adding new features for brands– if social channels don’t evolve they will be left stagnating in the dust in a matter of a year or two. Check often to see what new features or plugins might be available to you on channels you’re already using. For example, consider how Citi has brought chat to Twitter to outstanding results. Take a stroll around other brand pages every once in a while to get inspired by the possibilities. It’s fun to learn from others to see how cool features are being implemented.

Social media is undoubtedly still in it’s early stages and continues to rapidly evolve. What the social landscape will look like in one year, 5 years and 10 years from now will be very different than what we see today. Will Facebook and Twitter still be the reigning social king and queen? Understanding this means that all social media professionals have to keep one eye on the present and one eye on the horizon and have a commitment to always be learning.

This guest article was written byTerra Mrkulic, social media manager at LivePerson

How Metalhead Mentality Breeds Creativity

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TBWA\Chiat\Day New York Head of Planning, Ed Castillo, attended a SXSW panel entitled Anarchists to Sell-Out: Punks Make Better CEOs and had these thoughts to share.

The presentation I enjoyed most at SXSWi was “Anarchist to Sell-Out: Punks Make Better CEOs” by Deep Local CEO Nathan Martin. Martin’s candid account of his journey from skate punk, to electronics anarchist, to metal front man, to tactical-media artist and agitator, to design professor, to creative technologist for hire (my characterizations, not his) was a provocative and inspiring story about embracing the disruptive force of creativity and living strictly on one’s own terms. In a career punctuated by hacking the Nintendo Gameboy, trading sex for votes, and Nike Chalkbot, Martin has apparently found a way to participate meaningfully in the circus that is brand marketing while staying true to the idealism of his art and the hacktivism of his youth.

Of particular interest to me is his role in metal/punk/grindcore/noise outfit Creation is Crucifixion. As Martin recounted his experiences touring with this band of developer and technologist types, I couldn’t help but think about my own metalhead friends, and their tendency to be gear-heady, catharsis inclined jonesers who are fond of making things. And just hours after hearing Martin’s presentation, the idea that ‘metal and making’ may be linked in some fundamental way presented itself again while having drinks with colleagues from TBWA\Digital Arts Network (I was with an Aussie, a Brit, and two Finns; all of whom are metal heads). As we prepared ourselves to attend the Metal Monsters of Texas Unofficial SXSW Showcase, the conversation moved effortlessly from the latest double-bass-drum techniques by Meshuggah’s Thomas Haake, to isolating video game music soundtracks from their gameplay context for iPod listening, to admiring the new Fractal Axe-FX II guitar amp emulator, to sussing out how we might share Pro Tools and Cubase files to collaborate remotely on original music, to describing the joys of listening to metal while writing code; all ostensibly conversations about making stuff.

…So what is the connection – if any – between making “stuff” (which, for the purpose of this article means “creative expressions for commercial gain”) and loving metal?

The most obvious connection may be the roles of technique and gear/tools in the making of stuff, and in metal. Many metalheads are musicians, but even if they aren’t, they can typically distinguish a Marshall from a Mesa/Boogie, or a Fender from a Gibson. More generally, they’ll likely also have an appetite for discussing the hardware, software, operating systems, and programming languages used to make video and audio content (and they might even want to discuss the power, control, microelectronics, and signal processing that goes into making even more tangible “stuff”).

[In case you hadn’t noticed, the Creation is Crucifixion song I posted above is called “Antenna Builder (aka Engineer an Inverse Cellular Network).”]

Looking deeper, though, I see something more interesting in the preponderance of creative minds being drawn to what the masses experience as cacophony. Hard/heavy music fandom (from metal to industrial to punk and beyond) can be characterized as being made up of “subcultures of alienation” which have their own sets of unwritten rules (distributed tribally across the sub-groups that make up the larger hard/heavy musical taxonomy). These rules compel tribe members to oppose mainstream, established…popular means of expression.

That is to say that these rules compel metalheads to be disruptors (which is near to my heart as an employee of TBWA).

If you’ve never experienced a discussion of metal’s sub-generic classifications, you might be surprised to learn how fragmented these sub-genres can be, which in turn can lead to wildly over-thought classification schemes (e.g., I recently argued with a friend for an hour about whether Poland’s Decapitated is “ultra-technical death metal” or simply “modern math metal”).

What’s more likely the case is that you just don’t care, which is precisely the point. Subcultures of alienation thrive on being alien, at least in comparison with the larger population (even if they demonstrate a remarkable uniformity within their own tribe [think black concert T-shirts and long hair on men]).

At the center of all this tribalism is freedom from convention (well, those not imposed by the tribe, at least) and a constant opportunity for cathartic expression. And these are the very roots of creativity.

Every one of us is born creative, expressive and comfortable with ourselves. But over time, schools, churches and other institutions force us to focus on the “right” and “wrong” answers, and this fades.

(An idea quickly and elegantly represented here http://youtu.be/n3EQT-TYv_0)

I can’t know whether any of this armchair anthropology is manifest in Nathan Martin’s creative work, his sense-of-self, or in the work or senses-of-self of any other of the creative metalheads who seem to surround me. I can tell you, however, that Martin’s SXSW presentation compelled me to take notice and think about these issues, and for that I’m thankful.

Nathan Martin is “still metal,” even if he is no longer screaming and growling on performance space stages.

O que a campanha crowdfunding de “Veronica Mars” nos diz sobre o futuro das indústrias criativas

Quando Amanda Palmer arrecadou 1.2 milhão de dólares através do Kickstarter há quase um ano – mais dinheiro do que uma gravadora gasta em média para lançar um artista pop – muitos se perguntaram se era esse “o futuro da música”. A afirmação estava estampada em um cartaz segurado pela própria cantora em sua campanha.

Na última semana, com um feito ainda mais impressionante alcançado por fãs da descontinuada série cult “Veronica Mars”, a dúvida foi novamente repetida, dessa vez em relação a indústria da televisão e cinema. Esse é mesmo o futuro?

Porém, qualquer que seja a mídia, ainda é pouco claro qual será o verdadeiro impacto de fãs pagando por suas obsessões na gargantuesca engrenagem pré-estabelecida das grandes companhias produtoras de entretenimento.

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Deveriam os fãs pagar pela produção de um filme de estúdio?

O Kickstarter para transformar “Veronica Mars” em um filme de Hollywood bateu todos os recordes prévios do mais popular site de crowdfunding. Em apenas 12 horas, se tornou o mais rápido projeto a atingir tanto 1 milhão e 2 milhões de dólares. A cifra, aliás, foi a mais alta já pedida através da ferramenta. No momento em que finalizo esse artigo, o volume arrecadado já está na marca de 3.6 milhões.

É um acontecimento histórico para o mercado, sem dúvida, mas com uma dose de cinismo e polêmica extra. Ao contrário de projetos independentes financiados pelas pessoas, o filme de “Veronica Mars” não tem o desprendimento e liberdade que se imagina de uma iniciativa crowdfunding.

Desconhecemos qual é o acordo que o produtor e criador da série, Rob Thomas, tem com a Warner, porém não se engane: Será um filme pago pelos fãs, mas com benção do estúdio. Tudo só começou com a autorização da empresa, que detém os direitos da franquia, e após ver o sucesso da campanha online deu luz verde para as filmagens. A distribuição, por exemplo, geralmente o maior problema de um projeto independente, terá certamente a mão pesada da Warner.

É por causa disso que surge a controvérsia: Deveriam os fãs pagar pela produção de um filme de estúdio?

Para um projeto no Kickstarter, 2 milhões de dólares é dinheiro sem prescedentes. Para uma empresa como a Warner Bros é cafézinho. E se apenas esse montante é o suficiente para realizar o filme, é óbvio que poderiam tê-lo feito da maneira tradicional.

Mais do que o dinheiro envolvido, a campanha no Kickstarter provou para a Warner Bros que uma série cancelada ainda desperta interesse.

Dessa forma, alguns enxergam nisso um futuro em que uma empresa multibilionária repassa os riscos para os fãs, enquanto mantém todos os benefícios que um produto de sucesso pode gerar. Em resposta a isso, devemos considerar que, no caso de crowdfunding, o único risco embutido é a decepção. Se o projeto não conseguir dinheiro, ele simplesmente não acontece. Ninguém perde o investimento prometido.

Em comparação com produtores profissionais, que investem dinheiro em busca de retorno financeiro, um fã que coloca a mão no bolso por um filme só quer, bem, assistir o filme. Talvez ele não goste do roteiro, de uma cena, ou do final, mas não terá gasto muito mais do que o valor de um ingresso de cinema.

Mais do que o dinheiro envolvido, a campanha no Kickstarter provou para a Warner Bros que “Veronica Mars” ainda desperta interesse e tem apelo. É natural que o estúdio não aceitasse financiar um filme de uma série que foi cancelada por baixos números de audiência. Se crowdfunding significasse risco e perda do valor investido, a história seria bem diferente.

É notório também que diversos projetos do Kickstarter tiveram dificuldade em cumprir as contrapartidas no tempo estipulado. Ter uma empresa de grande porte participando de um projeto “independente” pode ser uma garantia da entrega dos produtos prometidos. Grande parte das 55 mil pessoas que deram dinheiro para tornar “Veronica Mars” realidade não quer só dinheiro: serão milhares de DVDs, Blu-rays, posters e até algumas sessões privadas de pré-estreia. Ou seja, o montante é grande, mas a conta não fecha só com a produção e lançamento do filme.

Amanda Palmer referenciou a campanha de “Veronica Mars” no Twitter dizendo que “o mundo está mudando e nós estamos assistindo”. É verdade, mas obviamente não para todos. Segundo dados do próprio Kickstarter, mais da metade dos projetos não atinge o mínimo solicitado.

Kickstarter

O modelo econômico do Kickstarter funciona bem em um ambiente livre de riscos, e uma campanha como a de “Veronica Mars” abre os olhos do mercado, mas difícil dizer se poderá ser replicado em uma escala que realmente altere o futuro da indústria financiadora de criatividade. Muitas criações artísticas de sucesso só foram possíveis quando alguém resolveu arriscar, ainda que todos os indicativos apontassem o fracasso.

Porém, ainda mais importante é o fato de que a luz verde das propriedades intelectuais mais valiosas do mundo continuará na mão de poucos. Nenhuma empresa abriria mão de influência e domínio a longo prazo, que valem muito mais do que 40 ou 50 dólares de apenas 55 mil pessoas uma única vez.

Sendo assim, aliado ao interesse dos fãs agora escancarado e somado a toda a exposição que o crowdfunding gerou, que eu apostaria que a Warner vai injetar mais dinheiro na produção do filme do que o que será arrecadado através do Kickstarter. Afinal, se o sucesso se estender além do oba-oba online, encomendar uma sequência ou remake no ano seguinte pode trazer ainda mais retorno.

Brainstorm9Post originalmente publicado no Brainstorm #9
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Campaign Spotlight: Marriott Ties in With ‘42’ to Promote Loyalty Program

Marriott International will use the coming release of “42,” a movie about Jackie Robinson, to promote its loyalty program to African-Americans.

How NFC Could Revitalize Direct Marketing

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NFC – near field communication – is a relatively new technology that has the potential to revitalize the direct mail marketing sector. It enables marketers to deliver content via an embedded NFC chip that allows wireless communication when a user touches a smartphone or mobile device to a piece of marketing collateral or brings the device into close proximity with an NFC tag.

Although NFC technology has been around since the 1980s and marketers are increasingly using it today, the technology was slower to catch on in marketing than QR code technology. QR codes – two-dimensional matrix codes that are often printed on direct mail marketing material – have found a ready user audience in the marketing realm for several years now. QR codes appear on everything from movie posters to fast-food restaurant drink cups to ketchup bottles. With QR codes, consumers can scan the printed code with their smartphone’s camera to be connected to online digital content.

Both NFC and QR codes serve a similar function: They are a bridge between the physical and digital worlds. NFC codes create a digital bridge to physical collateral, and unlike calls to action that require consumers to type in a URL or scan a code to get redirected to an online message, with NFC, all the consumer has to do is touch their smartphone or mobile device to the collateral for an instantaneous connection. It’s a unique way to connect the physical and digital spaces. This makes both technologies highly attractive to marketers.

But despite the current popularity of QR codes, many analysts believe that NFC technology is poised to replace QR codes as the marketing tool of choice. That’s because NFC is generally easier to use: Depending on the scanning application, QR codes can take seven or more steps to direct users to the digital marketing content. NFC codes don’t require any action on the part of the user other than bringing the device into close proximity to the tag.

However, QR codes got a huge head-start over NFC, mainly due to the fact that popular smartphone manufacturer Apple has been slow to embrace NFC technology. But other tech giants like Google have recently rolled out new products that use NFC, such as the Google Wallet, which uses NFC to transmit payment details to merchants for wireless transactions. Additionally, Samsung and other mobile smartphone makers have paved the way by incorporating NFC technology in their smartphones since as early as 2006.

NFC and Direct Mail

The use of NFC as a marketing tool is on the rise, but it’s not yet pervasive. That means marketers who use it now are early adopters. This is a unique opportunity for marketers such as direct mail specialist to get ahead of the curve. It is also an opportunity to build a digital bridge for consumers with a tool that eliminates the need for the target audience to take multiple steps to reach online content.

In the past, one obstacle to widespread NFC adoption was the need to embed chips or tags in the call to action material, which could take many forms, including letterhead paper, poster stock, business cards and virtually any other material on which a marketing message can appear. However, the development of NFC-enabled papers and plastics eliminate this barrier, opening up many new NFC applications, including use of the paper to create direct mail pieces of all types.

Developments like NCF-enabled paper, creating cheaper methods of tag production and technology adoption will help push NFC usage rates higher, as will Apple’s embrace of the technology since it is becoming more commonplace. The technology’s applications are practically limitless. Proximity marketing applications can allow merchants to convey messages to any smartphone within range of a particular product, allowing marketers to precisely target messages to consumers and gauge reactions to offers in real time.

Marketers who are early adopters of this emerging technology tool can differentiate themselves from competitors by developing analytics around the technology. This can provide a major strategic advantage. Marketers can also use NFC to improve their tactical approach by eliminating the need to create short URLs, relying instead on proximity to complete the connection between the direct mail marketing piece and the online offer.

By giving marketers a new way to bridge the physical and digital gap, NFC technology offers unprecedented opportunities to brands that want to convey a tech-savvy image while delivering valuable offers and collecting vital consumer insights. NFC is positioned to revitalize the direct mail marketing sector, enabling instantaneous delivery of relevant messages affordably and effectively.

This guest post was written by Jacob Beckley, vice president of Innovation at Fusion92

Reflections of Paris

Joanna Lemanska est une parisienne historienne de l’art qui aime immortaliser la capitale française sous différents angles. Elle reprend avec intelligence et talent, des décors bien connus de la ville lumière avec des jeux de reflets sur les flaques d’eau. Le résultat « Reflections of Paris » est à découvrir dans la suite.

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Giant Double-Sided Touchscreen Wins Contest to Redesign NYC Pay Phones

The vendor contracts for New York's pay phones expire next year, so the city put together a Reinvent Payphones Design Challenge to get some free labor out of an already overworked design community. Oh, and to keep its pay phones relevant, I guess. Still, I like the idea of keeping these phones from total obsolescence. Sage & Coombe Architects won the public vote with its really cool "NYFi" design, reimagining pay phones as multipurpose kiosks comprising free WiFi hubs, bus-ticket machines, MetroCard dispensers and bicycle share stations. There were six others finalists, which you can see here. The city won't use any single design in its entirety, but was simply looking for ideas—and gauging what residents want. When the project is finished, whatever the finished design looks like, we'll surely have to explain to future generations what those weird boxy street-corner things are when they watch movies made before 1997. Via Wired.

STRP Biennial, a walk through the city of cyborgs

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The theme of this year’s exhibition is City of Cyborgs. Not the city of androids, clunky clones and man/machines contraptions but the city we are already walking through, smartphones in our pockets, implants in our bodies for some and ready to get our hands on Google glasses. City of Cyborgs in STRP speak means animatronics, opera for prehistoric creatures, a forest of interactive lasers, tapas made from edible solar cells, absurd mega machines and lots of dance. The high tech, the low tech, the digital, the organic and everything in between and beyond. continue

Why SXSW is Still Awesome

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SS+K wanted to capture the SXSW experience by tapping into the videos people were sharing from the festival through Vine. The agency used the SX6s app they built to view and select a set of Vines they thought were an accurate representation of SXSW experiences people were documenting in their vines: parties, food, street life, robots, and the Music, Film, and Interactive conference itself.

The result is a frenetic video that captures what it’s like to attend SXSW. The pace is fast and furious. The schedule is tight. And it’s a panoply of information and insight to fuel the mind for months following the event.

In terms of this year’s objects of desire, I liked the Leap Motion Controller which allows you to control your computer by gesticulating. I liked Grumpy Cat who appeared in the Mashable Tent for all to experience. I liked NASA’s presence which included several talks as well and a giant Space Camp astronaut dude who, in addition to roaming the streets of Austin, wandered through the exhibit hall and took pictures with people. And 3D printing was a live and well at many various events.

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There were no breakout hot products like there were in years past but that isn’t important. And to expect it to happen every year is just silly. In my opinion, people are better served by taking advantage of the personal connections which can be made during SXSW rather than expecting some cool, new app every year. Apps don’t last forever. True friendship does.

In all, this year’s SXSW was wonderful. Yes it was bigger then last year. Yes it’s not the quaint geek-fest it once was. But something about this year just clicked. Last seemed a bit crazy and unorganized. This time everything felt smooth and enjoyable. Maybe it’s just me but we’ve heard others say the same.

The marketing community continues to gravitate to SXSW but in more meaningful ways. The days of giant brand take overs like Pepsi Playground (which we liked and is now impossible to repeat because there’s a building where it took place) seem to be over but brands continue to have a strong presence.

Advertising agencies were well represented this year at SXSW with many hosting events or parties. JWT had its second annual Messin’ With Texas party. GSD&M had its Industry Party. Barbarian Group (which has had a presence at SXSW long before most agencies) held its annual party again this year at Mohawk. And that’s just a small sample of agency representation at this year’s SXSW.

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Certain “purists” will continue to bash the growth of SXSW but I think it’s just indicative of the greater marketing and advertising world understanding there are seismic shifts occurring and SXSW is a very important place to stay on top of those changes.

Even though I feel the dramatic growth SXSW has experienced is a good thing, I do miss the days when, as described by a friend, SXSW was like “having the entire internet in person.”

Ariel is right. Up until about four years ago, when you attended SXSW, it felt like a close-knit circle of friends…or at least a circle of close connections you had made through social media and its various precursors. Five years ago at an SXSW party in a venue that no longer exists, I can remember being starstruck by the presence of Digg, Reddit, StumbleUpon founders all in the same room…along with, Shira Lazar iJustine, Lux Alptraum, Violet Blue, Evan Williams, Leah Culver, Pete Cashmore, Brian Solis and so many more that seemed to be everywhere during that year’s SXSW.

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But, as with anything, over time things change. And they have changed a lot. In 2008, there were 9,000 interactive attendees. In 2013, there were 30,621 interactive attendees. It’s awful hard for anything to feel intimate when there are 30,000 people involved and much of the internet Waldman refers to no longer attend.

That doesn’t make SXSW bad. It just makes it different. It’s easy to get nostalgic about the “good ‘ol days” of SXSW and the internet but nothing stays the same forever. Out of this growth, brands have finally discovered that technology plays a very important role in marketing. And technologists have reaped the benefits of, lets be honest, the deep pockets of big brands.

As is usually the case when big brands (and anyone remotely tied to marketing and advertising) first approach something new, size matters. Bigger is better. Think Pepsi Playground. Think CNN Grill. Think hot chicks atop a bus driving circles around the convention center.

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But now, while just as many brands are in attendance, the approach is different, The takeovers are smaller. They are more grounded (like Samsung’s pop up store). And they are much less ostentatious.

Many a naysayer told me “I’m not coming back next year.” Many people said this last year, yet they returned this year. It’s easy to trash SXSW for becoming large and commercial when it was once a quaint meetup for geeks. It’s far more intelligent to realize the event still has much to offer. I’ll be returning next year.

MTV Young & Married: The Laugh-Cry

The show tells the story of young married couples and those about to get married. This kids are getting married really young and this generates mixed feelings between their beloved ones. On one side they are happy for them but on the other they are also sad because of what they have to sacrifice. The spot is about this feeling that we decided to call the “laugh-cry”. The spot was created by MTV´s based World Design Studio in Buenos Aires and will air internationally

Advertising Agency: MTV WDS, Buenos Aires, Argentina
VP Creative: Sean Saylor
Art Director: Nacho Gil
Creatives: Fran Casais – Agus Russo
Manager: Josefina Marfil
Producer: Delfina Chiesa
Director: Nacho Gil
Production Company: Oriental Films
Executive Producers: Diego Robino – Mauricio Clavijo
Producer: Federico Brum
Photographer: Pedro Luque
Colorist: Daff Schneydher
Editors: Felipe Soto – Jose Vitarella
Post Coordinator: Adrian Broglia
Assistant Director: Lolo Paradell

Kuoni: Paper Plane

Advertising Agency: TBWA, Mumbai, India
National Creative Director: Rahul Sengupta
Executive Creative Director: Rahul Ghosh & Siddharth Deo
Senior Creative Director: Rishi Chanana & Souvik Datta
Agency Producer: Hriday Dowerah
Managing Director: Nirmalya Sen
Executive Vice President: Aejaz Khan
Account Director / Senior Account Executive: Manish Tilwani, Priyank Pant, Sheetal Mehta & Amrita Chatterji
Planning: Aditya Nagavekar
Production House: Chrome Pictures Private Limited
Director: Hemant Bhandari
Producer: Puneet Bhatia
Cinematographer: Tapan Basu
Art Director:Prasun and Gauri
Chief AD: Vijay Veermal
2nd AD: Vivek & Anand
Costume: Urmi daga and Hemal Ved
Casting: Vijay Veermal
Production Manager: Tufail Ahmed
Project Co-ordinator: Napolean Daniel Amanna
Offline editor : Dev Rao Jadhav
Online editor: Sunil Pathak
Colorist : Prashant Sharma
Sound Engineer :Arun Cresto
Music:Micu Patel
Music Programmer: Ketan Sodha
Post Producer :Mithun R Shaw
Asst. Post Supervisor :Nihal Vaidya
Post Production: Pixion
Accountant: Yogesh Limbachiya
Sr.Accountant :Kalpesh Darji

SportsFit: Plump, Fat, Obese

Advertising Agency: Eleven Brandworks, Gurgaon, India
Chief Creative Officer: Prateek Bhardwaj
Creative Director / Art Director: Aneesh Jaisinghani
Creative Director: Kapil Batra
Retouching Artist: Om Pal

Ad Holding Companies Look to Spread Data Wealth Beyond Media Agencies


Once, data was the sole province of media agencies. But now ad agency holding companies are attempting to spread big-data smarts around, allowing PR, creative and of course digital shops to benefit from software that cleans, stores, measures and uses data for audience targeting.

At Omnicom Media Group, there are now hundreds of people focused on data. “The overall ambition is that we’ll become a horizontal marketing technology arm across all of Omnicom,” said Scott Hagedorn, who leads OMG’s digital data and analytics group Annalect as CEO. “I’d give it another two years.”

Annalect, split between an enterprise-software group and a practice with programmatic trading and global search, has invested heavily in talent from Wall Street and companies like KBMG. Omnicom CEO John Wren “wants to make it the Bloomberg of marketing,” Mr. Hagedorn said.

Continue reading at AdAge.com

SportsFit by M.S. Dhoni: Plump

Weight loss programs at Sportsfit.

Advertising Agency: Eleven Brandworks, Gurgaon, India
Chief Creative Officer: Prateek Bhardwaj
Creative Director / Art Director: Aneesh Jaisinghani
Creative Director: Kapil Batra
Retouching Artist: Om Pal
Published: November 2012

SportsFit by M.S. Dhoni: Fat

Weight loss programs at Sportsfit.

Advertising Agency: Eleven Brandworks, Gurgaon, India
Chief Creative Officer: Prateek Bhardwaj
Creative Director / Art Director: Aneesh Jaisinghani
Creative Director: Kapil Batra
Retouching Artist: Om Pal
Published: November 2012

SportsFit by M.S. Dhoni: Obese

Weight loss programs at Sportsfit.

Advertising Agency: Eleven Brandworks, Gurgaon, India
Chief Creative Officer: Prateek Bhardwaj
Creative Director / Art Director: Aneesh Jaisinghani
Creative Director: Kapil Batra
Retouching Artist: Om Pal
Published: November 2012

Air New Zealand Joins Effort to Enliven Safety Videos

A British adventurer runs, crawls and rappels in Air New Zealand’s latest instruction video, one of a growing number of innovative efforts designed to get passengers to pay attention.

How P&G Inspired Cleveland Indians to Offer Fewer Bobbleheads


Cleveland Indians fans can expect an injection of new blood this season from former New York Yankee Nick Swisher, speedy outfielder Michael Bourn, and ex-Red Sox skipper Terry Francona. One thing they can’t expect: lots of bobblehead giveaways this season.

In fact, while the Tribe in the past has planned five to seven promotions featuring bobbleheads — wobbly figurines of beloved team players — the 2013 season will bring just two, according to Alex King, VP-marketing and brand management for the Cleveland Indians.

Marketing-mix modeling, a data-centric marketing approach that’s still novel in the sports world, drove that decision, he said. “What we found is, it’s most incremental for us to have more giveaway nights and fewer giveaways per night,” said Mr. King, a former P&G exec who grew up a Cincinnati Reds Fan. So, rather than give a promo to every attendee, only the first 10,000 or 15,000 might get them.

Continue reading at AdAge.com