The Big Brand Theory

Le designer basé à Kuala Lumpur Ewan Yap a mis en images son idée de « Big Brand Theory », cherchant à agrandir les logos afin de donner un nouveau graphisme aux canettes. Convaincu que cela n’empêche pas le client de reconnaître la marque, des mises en situation sont à découvrir dans la suite de l’article.

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Montero Branding

El Montero est le nom d’un restaurant situé à Saltillo Coahuila, une ville à la frontière entre le Mexique et les USA. S’inspirant de la culture locale et de la période coloniale, ce lieu dispose d’une superbe identité graphique signée Anagrama à découvrir en images dans la suite.

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Kidult – Visual Dictatorship

Kidult nous propose de découvrir cette vidéo documentaire appelée Visual Dictatorship. Expliquant comment les marques utilisent le graffiti pour en fait un art, ce dernier prône un retour à la rue. Visuellement réussie, cette vidéo le montrant apposant différents messages est à découvrir dans la suite.

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Hello H5

A partir du 11 octobre, la Gaîté lyrique devient l’écrin de la marque HELLO™ créée de toutes pièces par le collectif H5 qui a ainsi pu penser des installations célébrant l’identité de cette marque factice. En collaboration avec Fubiz, H5 et la Gaîté lyrique vous proposent de participer à cette exposition / concours.

/ Concours

Le principe du concours est de concevoir une planche de 4 logos de HELLO™ à travers les âges :

1812 : Halloway Inc. est créée à Chicago, au 2 Highland Street. Son but : développer un moyen de transport idéal pour réduire les distances et s’ouvrir au monde. L’aigle royal est choisi comme symbole de cette ambition.
1932 : Rebaptisée HELLO™, la marque est l’un des plus gros partenaires des JO de Los Angeles. Elle est devenue un empire de l’énergie, alimente le village olympique, construit routes et chemins de fers.
1963 : HELLO™ est devenue une icône de l’American Way of Life. S’appuyant sur les techniques balbutiantes du marketing, HELLO s’associe aux meilleures agences de Madison Avenue pour un nouveau logo ainsi qu’une baseline « Say Hello to the world! ». HELLO est un acteur majeur de la conquête spatiale grâce à son travail de recherche sur les nouvelles technologies, sources d’énergie comme le nucléaire, télécommunication comme la miniaturisation des transistors, médecine…
1984 : HELLO™ est un modèle de l’Amérique de Ronald Reagan et du capitalisme insolent des 80′s, à tel point qu’elle apparaît dans les films de science fiction pour symboliser les marques qui dureront éternellement. Recherche en armement, construction d’hôpitaux privés, diversification dans les villages de vacances, balbutiements des téléphones mobiles et de l’informatique personnelle : HELLO™ est dirigée d’une main de fer par son conseil d’administration, après que la famille du fondateur ait été écartée.

/ Détails

Le logo HELLO™ est à télécharger ici. Le jury sera composé du collectif H5 ainsi que des représentants de la rédaction de Fubiz et de la Gaîté Lyrique. Les récompenses : les finalistes verront leur création exposée à la Gaîté lyrique du 15 octobre au 31 décembre 2012 et sur hello-h5.com, seront invités au vernissage le 14 octobre et recevront un pack cadeau HELLO™.

Envoyer vos créations par wetransfer à hellohello@gaite-lyrique.net – Seules les contributions contenant 4 logos (un par époque) seront jugées. Fichier pdf vectoriel ou un fichier jpeg de 1600 pixels de large. Date limite : 5 octobre.

1er prix : la meilleur planche de 4 logos à travers les âges
2° prix : les 4 meilleurs logos par époque
3° prix : prix du jury pour le logo le plus abouti, quel que soit son époque

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Paper Art by Yulia Brodskaya

Yulia Brodskaya est une artiste russe vivant en Angleterre. Cette talentueuse créatrice nous propose de découvrir des compositions typographiques faîtes de papier. Très détaillées, ses oeuvres ont fait d’elle une artiste aujourd’hui prisée par de nombreux annonceurs à travers le monde. Plus dans la suite.

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France 5 Rebrand

Alphabetical Order a réalisé avec Les Télécréateurs la nouvelle charte de publicité pour la chaîne TV France 5, afin de valoriser le « savoir et l’expérience ». Un rendu magnifique de courtes vidéos pour encadrer les publicités fortes, le tout basées autour du mouvement. Découvrez toutes les identités dans la suite.

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Quechua Brand Movie 2012

Voici en exclusivité sur Fubiz, le nouveau film et campagne publicitaire de la marque Quechua par l’agence Fred&Farid résumant ses produits et son univers. Un showreel sur une bande son de Chut on vous écoute, avec une captation d’images du Studio Ores, Capsus Film et Simon Favier.



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Branded Objects in White

Andrew Miller a eu l’excellent idée de proposer le projet Brand Spirit. Tous les jours, il peint un objet d’une marque en blanc et le prendre en photographie, chacun de ces éléments valant moins de 10$. Un projet toujours en cours à découvrir dans la suite.



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Audi Brandfilm 2012

Voici la nouvelle et superbe campagne TV du constructeur Audi pour 2012. Produit par l’agence Kempertrautmann et réalisé par Christopher Hewitt, la post-production a été confié au studio The Mill et la bande son à Ben Lukas Boysen et Ludovica Nardone. A découvrir en images dans la suite.



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Measuring Ad Success in Eight Days or Less

measuringTapeThe recession has either changed the way advertisers do business or has forced us to reevaluate the ways in which we do business. The focus has shifted to the effectiveness and efficiency of an ad campaign rather than stressing the  campaign or ad variables such as reach and effective frequency.

If you work in a media department, then measuring effectiveness and efficiency is something you’ve likely done for years with little to no fanfare from the client side. Well, the climate’s changed, and clients are concerned more than ever — with good reason — that their ads and campaigns meet efficient, effective, and measurable goals. Their priority is to connect with the target audience in a manner that’s more in-tune with a reduced budget. Clients are are requiring or searching for agencies capable of providing campaigns that work harder and smarter.

In addition, advertisers (namely P&G and Coca Cola), have instituted Value Based Compensation (VBC)  arrangements made up of a pay-for-performance (P4P) layout that can be attained in addition to a base fee.

TV.PicThe Nielsen Company has just announced that a new software product, Rapid Campaign Evaluation (RCE), a fast and inexpensive means to review ad performance in just over a week. Due to the costs incurred when an ad or campaign is launched, RCE will give agencies information quickly so as to allow them to respond in an appropriate manner.

Richard Reeves, associate director of Consumer Research Services at the Nielsen Company, notes an agency not only will have the ability to evaluate their own endeavors but the ability to evaluate their competitor’s as well.

Whenever a new commercial is executed,” Reeves says, “there is always that element of anticipation about how it will perform in the ‘real world.’ If it’s a competitor’s ad — you are usually left worrying about the damage it will do to your brand.”

RCE was designed and tested in Australia to measure the strength (or weakness) of TV spots. How many people saw or heard the ads or whether the audience was able to determine the advertiser and the take-away message will provide advertisers with almost “real-time” data they can then use to readjust their tactics such as:

  • An ad that performed strongly may provide justification to increase spend.
  • An ad with mediocre results could be re-edited to clarify the brand message and increase brand cues, or it could be taken back into qualitative research for fine tuning.
  • An ad can be created or ad spend can be increased if RCE showed strong effectiveness measures for a competitor’s ad.

In just over a week, agencies will be able to view data in order to evaluate effectiveness or lack thereof, ensuring clients get the biggest bang for their buck.

While advertising “gurus” have bandied back and forth as to the fairness or plausibility of the VBC model, companies, such as Coca Cola, have already put it into action. In truth, it’s the most equitable payment arrangement; agencies require media vendors to prove their performance. Why shouldn’t clients require the same from their agencies?

Nielsen’s new software is just another step in the ongoing evolution of the industry.

Jeff Louis has over ten years of brand-building, media strategy, and new business experience. His passion is writing, while his strong suit seems to be sarcasm.  You can follow Jeff on Twitter or become a fan on Examiner.com.


White House Attacks Fox News

WhiteHouseSealIt must be slow in the Capital these days; it seems that although our world is going crazy, the president and his staff have taken time out to wage a media attack on Fox News, making the rounds on all the Sunday morning talk shows, with one glaring exception: Fox. The gloves were certainly off as Obama’s team struck back at Fox News accusing the network of opinionated reporting. Some of the quotes from the barrage include:

Fox is “not really a news station,” said David Axelrod.

Fox, said Rahm Emmanuel, “is is not a news organization so much as it has a perspective.”
They also urged the other networks not to treat Fox News as a news station because the White House certainly did not think of Fox as news-oriented. A week ago, communications director Anita Dunn opened the White House offensive on Fox on a Sunday show: “Let’s not pretend they’re a news organization like CNN is.”  She then stated that Fox was the communications arm for the Republican Party.

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The troubling part of this whole scenario: Our government is attacking one of our news outlets, thereby risking one of the freedoms America was founded upon: freedom of the press. (No, it’s not freedom of the press as long as we like what you are saying.)

The cable news networks are highly competitive, and Fox is not only the second highest- watched cable TV network, but it carries 9 of the top 10 cable news shows as of Q1 of 2009. Despite the heavy competition, the White House’s attack has actually begun to backfire.

Helen Thomas, the senior White House reporter in Washington (serving from JFK to
Interim Communications Director Dunnpresent) warned the Obama administration: “Stay out of these fights,”  and Washington Post’s blog stated: Where the White House has gone way overboard is in its decision to treat Fox as an outright enemy and to go public with the assault.

Some have even called the attack “Nixonian” in nature. However, the White House has an out. If the strategy fails, Anita Dunn can be tucked away easily, as she is expected to leave the administration by the end of the year.

fox news logoWhile Fox has not attacked Obama directly, they’ve unloaded on his aides, especially Dunn. Her statement naming Mao Tse Tung as one of her favorite politicians did not help nor did her speech explaining the censorship-like control exercised during the election. If team Obama felt they couldn’t control the message, or the press, they would use YouTube, Twitter, or Facebook to communicate.

While America thought that the Obama Campaign was tech-savvy, it was really just an exercise in message management.

Jeff Louis has over ten years of brand-building, media strategy, and new business experience. His passion is writing and his strong suit is sarcasm.  You can follow Jeff on Twitter or become a fan on Examiner.com.







Everyone Needs a Mentor

MentoringMaybe it’s the transitory nature of business these days or the the strict focus on business/clients and profitability, but finding and being a mentor is still invaluable to our industry and an enriching part of our humanity.

Early on, there were no formal mentoring programs where I began, but there were a lot of smart, fascinating people who were willing to talk about their work, their thought processes, and their clients. I’d watch how they presented, how they worked with clients, and how they handled themselves and their craft. There was much to study and absorb.

Slowly, I struck up conversations with them and developed relationships with my secret mentors, and it wasn’t just people from the creative side. I got to know senior account directors and media planners. Even the crusty, old guy in the studio was a source of wisdom and experience.

That’s one of the great things about our business: There’s always something new to learn if you’re open to it. I’d encourage people who are breaking into the business to poke your nose into a veteran’s office or cube and get to know them. Show some enthusiasm. That’s how you start a relationship. Later you might ask his or her opinion about your work or for career advice.

You don’t have to act on all you learn and hear, but you might walk away with a piece of knowledge you didn’t show up to work with. You can use what you learn from others to help chart your own course.

If you’re a veteran, show some patience and interest with the newbies. Don’t forget we were all newbies once upon a time. Spend more time chatting with your next generation, and get to know their work, life, and expectations. Your thinking and work will benefit from their freshness. Think of it as a reverse form of mentoring.

Give it a try. Ignore your e-mails and silence your Blackberries for a few minutes and reach out. It’s well worth the effort for everyone.

John Kistner is a freelance Creative Director/Writer/Closet Cartoonist. You can check out his handiwork here.

Boobs in the Media: Walking a Fine Line

IMG_2305Life just keeps getting weirder and weirder. One day, boobs are good; the next, they’re banned in Britain on billboards for their portrayal of headlamps. Britain is the last place you would think the girls would be put away. Britain is (in)famous for its portrayal of plunging-cleavage shots on TV shows such as “Benny Hill” and “Ab Fab” (”Absolutely Fabulous”), but is also the same country that  publishes topless women weekly in newspapers, notably,  The Sun’s “Page 3 Girls,” and  the  Daily Star’s “Babes”

While both of the papers are entertainment and celebrity gossip-type tabloids, they’re given huge amounts of leeway with topless models. However, other nude or semi-nude ads seem to spark controversy: Last month,  American Apparel ran a print ad that took readers through unzipping a Flex Fleece Hoodie. The model eventually gets to point where a portion of her nipple is exposed. The ad ran in Vice Magazine, caused public outcry, and was banned subsequently.

Whether right or wrong (and I have no stance on British standards in advertising), the only difference I detect between the topless shots in the papers versus the questionable billboard is that the billboard is free while the papers require payment or subscription.

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What’s all the hoopla about with this billboard campaign? It’s not any more or less, racy than a Victoria’s Secret ad or outdoor display.

Understandably, there are regulations to ensure no young minds are corrupted by breasts and marketers’ efforts to use breasts to sell stuff, and we’re well aware of the fact that sexually based ads and campaigns sell. This leads to the dilemma of morality and advertising, which is way too big to cover here.

However, my question is this: Whether used to sell headlamps in Britain or promote men’s awareness of breast cancer in North America, is it a fair advertising practice to approve or deny an ad based on the intent of the advertiser?

Rethink Breast Cancer’s spot, “Save the Boobs,” (below) follows a voluptuous woman in a bikini as she bounces her way through a swimming area.

Does this commercial merit approval based on the fact it supports a cause that could save a life, whereas the banned billboards are for headlights? Not using your headlights while driving could kill you, so don’t headlights save lives, too?

I would argue that if society’s intent is save the youth from corruption, both ads should be banned.

Here is where it gets weird: The headlight ad seems to succeed in purpose where the breast cancer spot fails. Why? Inciting controversy was the whole idea behind the cancer spot; stir people up, get them to react, get the spot on the news, and thereby raise awareness. Besides receiving accolades as being a great PSA by every 16-year-old with an Internet connection, it made but a ripple. The billboard got banned. Go figure.

Jeff Louis has ten years of brand-building, media strategy, and new business experience. His passion is writing and his strong suit is sarcasm. You can follow Jeff on Twitter or become a fan on Examiner.com.

Driving the World: Michelin’s First Global Ad Campaign

Michelin launched its first global advertising campaign last week to shine its headlights on Michelin’s USP high beams, illuminating the manymichellin benefits derived from its distinguishing characteristics. Its theme, “The right tire changes everything,” aims to drive this point home.

Michelin tires simultaneously deliver enhanced braking power, greater longevity, and superior fuel efficiency. The campaign illustrates by using the right tires, consumers can reduce fuel consumption, increase safety, and extend tread life.

The campaign features the iconic Michelin man, Bibendum, in an animated world, assisting troubled motorists and replacing their defective tires with Michelin tires, which he pulls from his body. I know what you’re thinking: Why can’t I get rid of the tires around my waist as easily as Bibendum? To answer that, you’ll have to take the advice of Esurance’s ad campaign, and “get animated.” Bibendum apparently has all the answers.

Created by TBWA, a New York-based agency that gained Michelin’s worldwide account last summer, Michelin’s campaign will appear across TV, print, and online outlets in the United States first, then in Europe and Asia in early 2010, and in Africa, the Middle East, India, and South America at a later date. The U.S. campaign features an enhanced digital strategy that introduces the official Michelin Man Facebook page and YouTube channel.

Visit michelinman.com/the-right-tire for more information.

Rohan Raj. Syrupy schmaltz. Finessing perpetual cadence. Boundless behemoth. Absence of mutual exclusivity? Priceless. Reach him via Twitter or LinkedIn.




Are Great Ads ‘Compellevant?’

vw think smallFor weeks now, my old Creative Director Andrew Schmeling has greeted his IM buddies with the following statement: “Is it compellevant?” (Being a Creative Director, he gets to make statements, not ask questions.) However, each time I sign on, I’m reminded this neologism serves as a portmanteau for two key ingredients of great ads: They’re both compelling and relevant. As we’re all subjected to daily, there are far too many pellets of capitalism that are only one or the other. You’re talking cultural milestone when you find one with both.

This is clear from a quick retrospective of the some of the high points of the last half-century of advertising. Love or hate smoking, Leo Burnett’s Marlboro Man rode for decades because whether you were Daniel Boone seeking “more elbow room” or Chris McCandless going Into the Wild, open space has always been part of the American Dream. That’s compellevant. DDB’s classic “Think Small” campaign? It’s compellevant because in the crowded seascape of land yachts that was the American car industry in 1959, a plain little Beetle with a lot of white space couldn’t have spoken louder to those questioning the Don Drapers of the world.

Wieden’s Just Do It in the ’80s? Compellevant. A few lucky folks out there might still look and feel as good as they did when they were 18, but for the rest of us, the clock’s ticking. Recently, there’s the iPod Silhouettes campaign: iconic art direction (branding the non-color white?) and direct copy plus a simple, non-verbal message (music is fun). These are just a few notable examples, of course, but you can pretty much take it to the awards podium (or bank, if you’re concerned with selling stuff) that the best work is compellevant, right?

Well, it is for the most part. Over the last few decades, as certain categories have drifted free from the moorings of Rosser Reeves-style USP-based claims, a number of notable campaigns and ads have appeared that can’t make any plausible claim to relevance but have compelled their way to sales, awards, and in the age of YouTube, the ultimate tribute, spoofs. What are some of these campaigns?

The Budweiser Frogs come immediately to mind. While Miller was going for compellevant with “Less Filling, Tastes Great,” Goodby had put together this slow-building three-syllable chorus of croaks, and the dramatic timing seems impeccable 14 years later. What relevant message does it have about beer? None.

On a similar note, just a few years later, Leo Burnett came out with the Real American Heroes/Real Men of Genius radio spots, and Mr. Centerfold Retoucher, Mr. Jelly Donut Filler, and their worthy compadres didn’t tell you anything about Bud Light, but these ads help vault Budweiser as the top beer in America and inspired countless web searches to hear the ones you’d missed.

Gorilla460More recently, TBWA/Chiat/Day’s tragicomic Skittles storyof the office worker afflicted with the candy touch swept the interwebs and the awards shows with its unexpected premise and compelling humor, but did it say anything close to relevant about the product? Nah. Ditto Fallon UK’s Cadbury spot. On paper, a formula of Phil Collins plus drumming gorilla equals a straight line from Doobieville to WTF-land, but increased sales don’t lie. My left brain is still outraged every time this is being used to sell chocolate, for it’s the perfect portfolio school case study of what not to do, but both my eyes can’t stop watching and neither could millions of others.

What’s the moral of the story here? Don’t be afraid to venture a little bit off the straight, strategic path, especially if you’re working on one of those fun food or beverage accounts. Sure, it’ll be harder to sell to the client, but gold (and a gold lion) might be in them thar hills.

Nate Davis loves advertising, the interwebs, and social networks, yet looks askance on many of their cultural offspring. Read more at www.natedaviscopywriter.com.










The Power of a Great Ad Campaign

ThebeefBefore delving into the main portion of this article, I’d first like to clearly define what I mean by the term ‘great’ in the title.

‘Great,’ in the sense of advertising, is in reference to an ad or campaign that transcends time and trend. ‘Great’ describes a truly creative and inspiring idea that has enough emotional, logical, or persuasive rhetoric to consistently move large portions of consumers to act.  Simply put, it’s got zing.

Alright.  Now that we’ve got that out of the way, we can really get to the “meat and potatoes” of this article; what great marketing campaigns can truly achieve for a brand.

Walking down the figurative Advertising Hall of Fame, you’d run into “Mean” Joe Green, an old woman inquiring about the absence of dietary cow product, and a swooshing symbol telling you to “Just do it.”  But what do these ad campaigns that have stayed in our mind through the decades actually do for their respective brands?  They’re cute, inspiring, and fun, but after the millions of dollars are spent and a few more million are made, can an ad campaign have a lasting effect?

Short answer: absolutely, yes.

For almost any ad campaign, a company will yield a moderate ROI for a short term period (i.e. – Placing an ad in the local paper, doubling your sales for a week).  But a great campaign can truly stick with consumers and implements a lifelong brand perception.

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Look at Volvo.  What is the first thing almost everyone thinks when asked about the vehicle brand, Volvo?  Safety.  This is a result from their influential campaign from decades ago that touted Volvo as the number one safety vehicle on the market.  At the time, that was true, and people were receptive to the great ad campaign.  Now, 20 years later, people still think Volvo releases the safest vehicles on the market, when in fact, they’re no longer even in the top five.

Now that is one amazing campaign.

More recently, Pabst Blue Ribbon, amid the recession, zero advertising spending in 2009, and a product price increase, has reported a 25% sales increase. (Ad Age) How could this have happened while other sub-premium beers cost less, advertise more, and have reported much smaller sales increases?

pabst-_1Experts told Ad Age that is was likely due to a word of mouth (WOM) campaign that Pabst Blue Ribbon initiated in 2004 as an anti-establishment beer, of sorts.  It has its own niche of young drinkers who don’t conform to the premium or big name brands.  And PBR did an amazing job at taking their campaign to the streets to find their niche.

Benefits?  Well, five years later, PBR is growing during a recession without an ad budget to speak of, against all odds.

Great campaigns have the power to shift, solidify, or revitalize brand/product perception.  They have the ability to transcend time or place by remaining relevant through the fads and trends.  It’s about reaching down to the core of what your brand can do for a group of people.

A good ad campaign can make people think, ‘Wow, I think I want that.’  A great ad campaign will make people realize, ‘Wow, I didn’t know I needed that.’

Stu Haack is a Copywriter & Social Media Guru at Aviatech.  He likes long walks on the beach and scary movies.  Learn more about him and his writing.

Merkle Re-Brands Database Marketing to Include Customers

stepping_out_of_the_computerDatabase marketing is now about the customer. Who woulda thunk it?

Merkle, a long-standing and highly reputable database marketing firm, has repositioned themselves in the industry. Following their release of Integrated Customer Marketing, Merkle has now adopted a new brand, “Customer Relationship Marketing Agency.”

There’s a lot of jargon associated with this switch. For example, look to the explanation in MediaPostNews “Marketing Daily”:

Integrated Customer Marketing helps companies become more customer-centric by informing the total customer experience , from strategic life-cycle management and marketing mix optimization to comprehensive program development and the optimization of individual campaigns.

What does that mean? I work in advertising and find that confusing. Talk about spin. Well, here’s my take: The idea, from where I’m standing, seems to be that Merkle is transitioning from merely being a resource of information for their clientele to a full-service consultation firm. They formerly offered “information.” Now, they offer “consultation.”

This change was long coming for the company; they have now joined the movement of agencies offering “full-service” solutions. With the state of our spending, that’s what companies are looking for: the one-stop shop or more bang for their buck.

Rena Prizant is a Copywriter, Ad Creative, SEO Gal, and mammal in the Chicago area. Visit www.RenaPrizant.com or @WriteLeft.


Togo’s ‘Money-Back Guarantee’ Ad Comes With a Price

hotpastramiWhat was all over the advertising headlines last week seems to be a ploy to increasing Web site traffic. On September 21st, Togo’s announced their new campaign launch, “Pastrami Money-Back Guarantee.” It stipulated that if you try the new sandwich during its promotional month (9/23-10/20) and you don’t feel it is better than the “other guys,” you’ll get a full refund. Who wouldn’t go for that? Don’t we wish all food establishments offered this service?

What’s the price for requesting a refund, though? Let’s say, for example, the pastrami sandwich was indeed worse than the “other guys.” What then? According to the refund rules, the requirements to receive a refund seem to be more cost-per-effort than merely swallowing the five or so bucks and moving on with your life.

Refund Process:

  1. Go to the Togo’s Web site.
  2. Print out redemption form.
  3. Fill out redemption form.
  4. Find the “original Togo’s store-identified cash register receipt (copies not accepted) showing purchase of a #9 Hot Pastrami Sandwich between 9/23/09 and 10/20/09″ to include in the envelope.
  5. Find the “original competitor’s store-identified cash register receipt (copies not accepted) showing purchase of a Hot Pastrami Sandwich between 9/23/09 and 10/20/09″ to include in the envelope.
  6. Write a letter with your name, address, and a brief description of why you did not like the sandwich.
  7. Mail to: Togo’s Pastrami Guarantee PO Box 2859 Carmichael, CA 95609-2859.

NOTE:
*Properly submitted and eligible claim entries will receive a check in the amount of the purchase price of a Regular #9 Hot Pastrami Sandwich from the original Togo’s receipt submitted (tax not included). Large and family-size purchases will receive the suggested retail price of the Regular #9 Hot Pastrami Sandwich. The suggested retail price for a Regular #9 Hot Pastrami Sandwich is $5.59 (tax not included).

Are they serious? Why don’t they require getting the redemption letter notarized? I’ll just skip the sandwich altogether, thanks. Just writing the steps above made me hungry for Jimmy John’s anyway. Nobody loves pastrami this much — nobody!

If Togo’s wants people to go to their site, then offer a better incentive, not a 1980’s rebate procedure. It’s almost as if Togo’s just crawled out of a bomb shelter and decided to increase sales. In this age of ADD Tweeting, are they really expecting successful product promotion? Sorry, Togo’s, if you can’t get with the zero’s, get back in your shelter.

Rena Prizant is a Copywriter, Ad Creative, SEO Gal, and mammal in the Chicago area. Visit www.RenaPrizant.com or @WriteLeft.

Tequila and Timberlake: The Perfect Combination

timberlSWEATERJustin Timberlake is not one to let the grass grow under his feet. An extremely popular solo artist, he’s also launched several “brand extensions” of himself that have been well received by critics, fans, and the public. His first new venture was Tennman Records, which began in 2007. Then, in February of 2009, he and best friend Trace Ayala announced William Rast, a clothing line that “is an extension of you.” Unlike most new designer lines, William Rast not only gained notice, but also received praise from the fashionistas.

901His latest venture? 901 Silver Tequila.

901 Silver is either named in tribute to the area code in which Timberlake grew up (Memphis) or for “that moment when your evening ends but your night is just beginning.” However, more than the Timberlake name is attracting attention. The tequila has been reviewed favorably by those who know tequila. According to the NY Daily News:

Timberlake’s new tequila, called 901, passed the sip test – and then some – among three New York tequila aficionados with very discerning tastes.

What makes 901 Silver Tequila unique is the method they chose to kickoff the first major promotion. Known as 901at901on901, and translated to 9/01, at 9:01, on www.901.com, it’s an invite to the public to creatively craft  ”The Big Idea” to aid the launch of this relatively new brand. The winner will become Executive Vice President of Big Ideas for 901 Silver Tequila.

To the victor go the spoils, which include the lengthy job title, a trip to Vegas (round-trip airfare for two, hotel stay and, of course, two tickets to the Justin and Friends concert), VIP access to all parties, $25,000 in “bonus” money, plus the chance to show off his or her creative skills among an elite group of people.

According to Kevin Ruder, President of 901 Silver (Timberlake is CEO):

We like to incorporate consumer feedback as part of our normal business practice at 901 Silver. We’ve turned that premise into a contest.

The following video outlines the challenge:

The contest ends on November 30th and the winner will be chosen by a panel of experts on December 4, 2009.

Jeff Louis: Media Planner, Brand Project Manager, blogger, and aspiring writer. Please leave a comment, follow him on Twitter or check LinkedIn for his profile. As always, thanks for reading.

Rachel Nasvik, Pirates, and Hand Bags (Oh My!)

ThrillofTheChaseIn June, Beyond Madison Avenue ran a post about designer Rachel Nasvik, a New York City designer famous for chic, custom-made handbags, and the “scavenger hunt” in New York city where consumers followed clues published on social media sites to discover where she had hidden 96 of these designer handbags around the city. The campaign was a great success, and displayed a great use of social media as well as a natural knack for getting noticed.

Well, Rachel Nasvik has again taken to the streets, but in an entirely different manner.

New York City (NYC) is known for many things, one of them being a place where consumers can purchase merchandise that has been pirated from well-known designers. Basically, knock-offs sold on the street for nothing that look like the original.

VendorWell Nasvik and team turned the tables on the design pirates by using their fly-by-night grocery carts as a means of promoting original Nasvik designs. In what could be called a second scavenger hunt, Nasvik sent clues to her 1,000+ followers on Twitter, alerting them that the game, once again, was a-foot. This time she was hiding her designer goods amidst the copycats roaming the streets of NYC. The cost for a Nasvik original off the cart was an affordable $10, while down the street at Saks, the same bag brought in $300. This obviously was not going to make Nasvik any money.

Yet, what she lost in terms of dollars was replaced by her gains in public relations, love from her fans, earned media coverage, and a creative use of distribution channels. She has taken social media to a whole new level, interacting with her fan-base personally with a fun and competitive game that was not online, but in the “real” world.

Plus, her brand is now being copied by pirates…meaning that Nasvik’s designs have truly “made it.”

Jeff Louis is a Strategic Media Planner, Brand Project Manager, blogger, and aspiring writer. You can reach him on Twittter or LinkedIn. He is always searching for great ideas and new friends.