Brands need YouTube content and advertising, but where do they turn to procure this modern form of communications currency? Ad agencies are changing, but few have crossed the bridge from making TV for a passive audience to making video for an active, empowered audience. One way to find a video provider is to discover who […]
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Stuart Elliott, the long-standing advertising critic at The New York Times, typed up his final column for the paper last week. Still getting pitched at 1:48 pm ET on my final day at #TheNewYorkTimes. In holiday spirit, won’t unleash a “Stuartism” on hapless PR person — Stuart Elliott (@stuartenyt) December 19, 2014 In his final […]
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Content is not king. Red Bull’s content is king. Werner Brell, managing director of Red Bull Media House, made a rare public appearance at the Content All Stars summit in New York recently. Journalist and MBA, Dorian Benkoil, was there to speak with him for Mediashift. I joked to Brell that a toilet paper company […]
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If you want to sell, show, don’t tell. Credit: BBR Saatchi & Saatchi Israel
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People like my friend Bob Hoffman, a.k.a. The Ad Contrarian, at times grow fatigued by all the hubbub around social media and content marketing. Bob says, “Content is a meaningless term — a media contrivance — invented by bullshit artists to add gravitas and mystery to mundane marketing activities.” Yes, Hoffman is a humorist at […]
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Daryl Simm, chief executive officer of Omnicom Group’s media operations, overseas roughly $54.4 billion in advertising spending around the globe. According to The Wall Street Journal, Simm has been advising advertisers such as PepsiCo, Visa, McDonald’s and Apple to move 10% to 25% of their TV dollars to online video. It’s an exciting prospect. Say […]
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Columbia Sportswear has been “trying stuff since 1938.” Now, with the help of CMD in Portland the recreational clothing maker is trying on the content producer’s role with the release of a new brand-sponsored documentary, I Am #OMNITEN. Each year Columbia selects ten more people to join its #omniten program. The #omniten are not full […]
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Change is the only constant. In digital media terms though, change is more than a constant, it’s a constant storm.
Grace Bonney, founder of Design Sponge, waxes nostalgic about blogging days gone by. Let’s listen and learn.
Six to eight years ago, most bloggers were living in our own version of the ‘Conde Nast heydays’ without knowing it. We were getting great rates for advertising, having to do (relatively) little to get those ads and could keep our advertising and content wells completely separate.
I must admit, AdPulp was in a better position six to eight years ago. We had more readers and more income.
For those interested in digital media survival, Bonney suggests a way forward:
The concept of a homepage is becoming somewhat obsolete. Readers will consume content where it is most convenient to them. So it is up to bloggers to now track down their audience and find them wherever they are (on Twitter, Instagram, etc.)
Correct. This, in part, explains why I’ve been allocating more time to AdPulp’s Facebook and Twitter pages.
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AdPulp’s Facebook page is the default gallery for the work coming in from press agents and from agencies directly. If you don’t already, please follow AdPulp on Facebook and Twitter.
As a writer and editor, it’s interesting to engage an audience that is quantified, not by number, but by name. In other words, I can look through our followers on social media platforms and see who is interested in our content. This is gratifying and informative.
Writers are used to addressing the black hole, otherwise known as the audience. Knowing who is out there, as one does in the theater and now in social, brings the enterprise to life in a way that page views alone do not.
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In a quest to innovate and apply leaner methods to age old practices, agencies are increasingly acting like media and technology companies.
In one such move, Publicis Groupe—agency parent to DigitasLBi, MRY, Razorfish and VivaKi—is joining the NYC Media Lab as a corporate member. Other partners include AT&T, ESPN, HBO, Hearst, NBCUniversal, News Corp., Time Warner Cable and Verizon.
The Lab connects companies seeking to advance new media technologies with university labs, programs and talent in New York. It was launched in 2010 by the New York City Economic Development Corp., New York University and Columbia University.
According to Adweek, all Publicis Groupe agencies have the chance to participate in the Lab’s media research initiatives, covering areas like design, data science and engineering.
This development will likely benefit clients in the end, but in the near term it may help high quality talent choose between offers from an Omnicom- or WPP-owned shop, and a similar offer from a Publicis-owned shop.
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Agencies active in the content game are making progress. They’ve moved away from the “every company is a media company” fallacy to a better place.
One thing we know for sure, every company is NOT a media company, especially not every advertising agency nor the marketers they support. Yet, the need for compelling brand-building media remains as strong as ever.
What is a global leader in digital marketing to do? If you’re Digitas LBi, you partner with with BuzzFeed and Epic Digital to develop new digital branded content. Why reinvent the wheel when you can simply buy new wheels and have them installed on your vehicle?
Epic Digital is an arm of Epic Magazine, which was co-founded by Josh Bearman and Joshua Davis (one of the most interesting people working online today).
According to Adweek, part of the deal includes marketing-side staffers from BuzzFeed will “grab a desk” in digital agency’s New York office. Teams from both companies will work together on strategies for brands.
Adam Shlachter, head of media activation North America Digitas LBi, said, “Buzzfeed has a formula for connecting with people, the things they want to read, the things they want to share, the things they want to talk about. We think we can combine that formally with how we think about the media to help brands tell really powerful stories.”
A formula to help tell really powerful stories? If the formula is to staff your team with outstanding writers, I can see where this is a winning idea. Other formulas like when to post, and how often are distractions.
Brands can’t tell their own stories. They need highly skilled modern-day storytellers to perform the hard work. An interesting twist here is that Digitas LBi has many solid copywriters on staff, but copywriters are trained to sell with short, smart language. Weaving long-form narratives (sponsored by a brand) is a different skill—one most often found in journalists.
The post Digitas LBi Applies BuzzFeed’s Content Formula To Client Problems appeared first on AdPulp.
Have you heard the news? Journalists are migrating to Adland to help agency personnel get off their asses and move at the fast pace of business today.
According to the The Wall Street Journal, Caitlin Francke, a former reporter for the Baltimore Sun and the Philadelphia Inquirer, is now senior vice president and director of social strategy at Publicis Kaplan Thaler. “We know as journalists that we can teach the advertising agencies to move that much faster,” Ms. Francke boasts.
I do not doubt the veracity of her claim, nor the need for it. What I do doubt is the willingness of traditional agency players to have anything to do with a newsroom operation inside their agency. Generally speaking, the people who work in advertising want things to be as cushy as possible. Not just free M&Ms during brainstorms. Ad people create wealth for gigantic companies and some may feel entitled to a ride or two on the client’s yacht. Or the agency’s yacht, as the case may be.
Investigative journalists on the other hand are happiest when turning over all the apple carts in the room and claiming that their new apple sauce is appealing. It’s a hard sell. Ad people like their apples shiny and fresh from the tree. But journalists are too busy fixing the world to be bothered by matters like apple presentation and provenance. To make matters worse, print journalists may have bad hair cuts and even shoddier wardrobes. And they work in poorly lit offices with crappy software.
The two corporate cultures are night and day. Ad people (at their worst) are a pampered lot who require lots of adulation and stupid trophies to carry on in their architecturally significant spaces lined with twenty-five-hundred dollar Macs. Journalists (at their best) are self-motivated, no-nonsense pursuers of the truth and the justice that comes from it. So, why in the world are journalists joining forces with the dark side? Is it because their jobs have vanished, or do they suddenly care about brands and the stories that reside deep within them?
Perhaps, the new content marketers want to order the most expensive sushi in America and stay at Shutters on the Beach when traveling to LA for business? But how can that be remotely possible when ad agencies are morphing into hard working newsrooms that churn out words and pictures in hours, not months? There’s no time for Shutters when you are a journalist assigned to provide real time marketing updates for a collection of Fortune 100 brands. Sorry, but Shutters is reserved for the people who make commercials for a living.
UPDATE 4/17/14: Justin Fox, executive editor of Harvard Business Review, notes in The Atlantic:
What has recently come to be called “native advertising” was a staple in the 19th century: Advertisers paid for “reading notices,” which were more or less indistinguishable from the articles alongside them. Reporters were often expected to provide “puffs” in the news pages for favored advertisers, and it was not uncommon for advertisers to give cash directly to ill-paid reporters and editors.
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We are now 20 years deep in to the commercial aspects of the digital media revolution. Interestingly, one of the salient features of this time of great change is how enduring television remains.
Richard Huntington, the Director of Strategy at Saatchi & Saatchi in London, believes TV advertising continues to be much more powerful and appealing than any other form of mass communication.
Only a few years ago television advertising awards seemed an appalling anachronism, a vestigial limb of an industry that was wrestling with the death of television at the hands of the internet. Indeed until recently the British Arrows were the British Television Advertising Awards. In a moment of panic they were rebranded in case the T word suggested that these awards were no longer relevant to the new media World.
Increasingly this seems to have been a rather hasty and unnecessary bit of brand vandalism as television emerges from a cowed resignation that its days were numbered into a ‘third golden age’ as Kevin Spacey described it in his MacTaggart address last year.
Let’s watch some well made TV advertising now, so we can see first hand why it works as well as it does.
Huntington says television is the place that the greatest directors and actors of our age want to practice their craft, because it is free from the constraints of lowest common denominator audience testing and first weekend box office receipts.
Is it true that the greatest copywriters and art directors of our age also want to practice their craft on TV? Even in 2104, I think it is safe to say, “yes” to this non-rhetorical question. Chime in below.
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Scott Lindenbaum is VP, Director of Digital Planning for Deutsch NY. No doubt, Lindenbaum has a sweet position at the agency, but the title fails to suit him. He wants to be called Engagement Strategy Director.
Given the planner’s understanding of Marshall McLuhan’s thinking on hot and cool media, Lindenbaum likely deserves said title change.
In the 1960s, Philosopher Marshall McLuhan famously wrote about hot and cool media, each of which invite different degrees of participation on the part of the media consumer.
Hot media is extremely immersive and comprehensive media. Think of an HD movie with surround sound. As it is traditionally understood, hot media leaves little room for viewer participation and little viewer effort needs to be made to have a complete and satisfying media experience. McLuhan might say that when we watch The Dark Knight Rises in IMAX, there is no room for active engagement because the media itself is so rich, so hot.
Lindenbaum goes on to conclude that our instant digital access to information turns all media today into cool media. With mobile computers in our pockets always at the ready, he reasons that we now routinely demand to participate. We also demand to be heard. And most interesting of all, we demand to know more.
A desire to know more and to participate in the narrative is part of the charm and success of HBO’s new series, True Detective. In order to know more, fans of True Detective snatched up Robert W Chambers’ The King in Yellow, a book first published in 1895. The book shot up Amazon’s bestseller list as fans consulted the text to help solve the mystery (in unison with the show’s development) of a serial killer operating in Louisiana.
No one at HBO led viewers to an old text. The detectives references to a “Yellow King” led viewers to wonder and then to seek out more information that the show itself was willing or ready to provide. Talented writers know that what does not appear on the page is often as crucial as the copy that does. Writers leave gaps in their stories to help people imagine. Force readers to examine every word, every detail in every scene and every piece of dialogue on the set, and you’ve taxed the audience and possibly driven all but the most faithful away.
To engage means to involve and involvement comes in various shapes and sizes. Reading text and watching video is one form of involvement, while responding to a work with your own work is another deeper form of involvement. In my opinion, brands want it all—light, medium and heavy engagement along with millions of impressions.
For fun, let’s explore another side of this topic. My friend Bob Hoffman provides the contrarian’s view of engagement.
Engagement is a very imprecise and confusing term. Nobody can agree on what engagement means, how to measure it, or what value it has.
So it’s the perfect flavor of online unaccountability. Just like we disguise our traditional advertising failures behind branding (“it’s not supposed to sell, it’s a branding ad”) we now hide our online failures behind “engagement (“clicks mean nothing.”)
A monkey can be trained to click. And hey, if clicks pay the bills for bootstrapped media companies and well-heeled ad agencies alike, wheel in the bananas. While everyone is enjoying their free info snacks, brand builders and direct marketers alike can court a few more clicks (and deeper engagement) on the well worn avenues to brand recall and brand preference.
The post Clear A Digital Pathway To Engagement, Brand Preference and Customer Loyalty appeared first on AdPulp.
You can’t read a media brand by its cover. For instance, Daily Candy looks like an incredibly healthy site. But its owner, NBC Universal, is not pleased with the numbers.
So displeased are the suits that they decided to pull the plug on Daily Candy and Television Without Pity.
According to Variety, Comcast bought DailyCandy in 2008 for $125 million from investment firm Pilot Group. Since then, Comcast acquired NBCU — with female-focused networks like Bravo and Oxygen — but the hoped-for synergies with DailyCandy never materialized.
Kara Swisher thinks there may be a lesson here.
Beware! While there may be a perceived boom in content online recently and interest in investing in it, not all of the players get to survive.
Nor should all the players survive. Although in a more perfect world, purveyors of high quality content will have a decided edge.
In the real world though, quality is not always a determining factor. Financial success requires that you provide content—be it good, bad or ugly—to an interested audience that is willing and able to support the media enterprise directly via subscription or indirectly by being open to sponsored messages.
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Editor’s note: Please welcome Nathan Archambault of AKQA in NYC to AdPulp. An earlier version of this article appeared on Maybe I’m Gravy.
The old advertising agency model, the one where Madison Avenue agencies took their sweet and expensive time, isn’t working anymore.
It’s time for a forced retirement.
Sorry, old model. The nature of the business has changed. Client relationships have splintered and the traditional methods by which agencies profited are shrinking or disappearing. Clients want more effective work and they want it faster and cheaper.
Agencies are left with a clear choice: become more nimble, flexible and cost-effective or fade away. As Jeff Goodby recently admitted, we’re past the time for quick fixes.
It’s time to build a more agile agency. Here are a few things agency leaders can do.
Today’s agency doesn’t need the same departments that were once a centerpiece to the creative offering. Goodby folded project management into account management and scaled back in-house production, opting to work with more outside vendors. Other agencies have eliminated the studio department, instead leaving final design responsibilities to creative instead of to a separate department.
Ask your agency: What departments are redundant, outdated or inefficient?
It’s time for agencies to get out of the meeting business and get into the making business. The old model has too much overhead, too much process and too many barriers getting in the way of the work. An agency should feel like a living organism with the sole goal of producing great work, and nothing else should matter or get in the way. Oreo operated like a newsroom during last year’s Super Bowl and we all know how that turned out.
Ask your agency: What can we do to get out of the way of the work?
In the past, clients demanded perfection and the agencies that delivered it thrived. These days, experimentation returns more on investment. Google launches everything in beta and future updates are expected and (mostly) welcome. The important thing today is getting your product, service or campaign idea to market. Once people have access to it, you can gather feedback, revise and repeat. This is what successful startups like Instagram, Foursquare and Path do and it works pretty well for them.
Ask your agency: What can we make today and worry about making better tomorrow?
Agencies used to be able to hire creative teams to sit around and think up big ideas. But teams that lack the craft to build the ideas they come up with aren’t pulling their weight today. They’re requiring the agency to hire someone else to execute and bring the vision to life. The jig is up, big thinkers: Being clever and having good taste is no longer a job. That’s why side projects are the new main course – they’re the work of a doer.
Ask your agency: Who actually makes things around here?
Interpersonal relationships and unique skills matter more than staffing plans. The need may be for an ACD-level copywriter, but it’s important to be open to creative solutions when filling this or any position. An agile agency wants to find people with the right mindset, regardless of whether or how they fit into a particular department or job title. With the right people in place, an agency can cast for projects, not staff for them.
Ask your agency: Are we hiring the best people first and determining their role later?
It doesn’t make sense to implement the same process for every project. These days, unlike when advertising was mostly made of TV and print, each project is different from the last. Michael Lebowitz, Founder and CEO of Big Spaceship, gives his teams a framework instead of a process. This allows each team, each operating as mini-agenices, to bubble up a unique process that leads to more unique work.
Ask your agency: Are we finding new paths to the end goal of creativity?
The different stages of any given project shouldn’t feel like a baton pass. The brief can’t spend weeks with strategy before being handed off to the creative department, and later to production. AKQA CCO Rei Inamoto believes that agencies need to combine strategy, storytelling and software in order to build emotional and useful connections with people. This means that creative, strategy and technology work together from the start, making each team more invested at every stage of the process.
Ask your agency: Is each team member a stakeholder from the beginning?
Maybe you’re not in a position to change the way your agency operates. But there is something you can do: you can join an agency that believes in the game-changing power of agility.
In this agile age, one thing is for certain: the inflexible will be left behind.
Previously on AdPulp: The Google To Adlandia: Be Lean And Agile Like Us, And You’ll Be Rich Like Us
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Ideas are a dime a dozen. Talented people have great ideas all the time. It’s the ability to act on the ideas and turn them into tangible works of art and/or commerce that separates the pros from the All Pros.
This is one reason the meme “Every company is a media company” makes sense. Media companies and entertainment companies know how to run with an idea. They’re producers, and that’s what brands and their agencies need to be, as well.
According to Variety, ad agencies have long worked to produce various pieces of video content, even full-blown TV programs, but the growth of video platforms has heightened demand for those services.
“The agency model is evolving,” said Jon Hamm, chief creative and innovation officer of Momentum Worldwide. These days, Momentum has five or six programs in advanced stages of development. One series, “Full Circle,” created and written by playwright Neil LaBute debuted last month on DirecTV.
“The rise of digital media as a significant platform of engagement for brands and consumers is creating much more opportunity, and also creating a much greater need for content,” said Peter Tortorici, chief executive of GroupM Entertainment.
It would be logical to deduce that “a much greater need for content” also means a much greater need for content providers, also known as brand storytellers. The thing is, brands are not always clear about where to turn to bring their brand stories to life.
Do brands call on their ad-making buddies at the agency? Do they hire highly skilled but under-employed journalists? Or do brands work directly with a production company? All three options are viable, but I also see a greater need for hybrids with roots and capabilities in all three worlds.
The post Find Your Inner Producer — Make Great Things Happen appeared first on AdPulp.
Hats off to David Zaleski at iMedia Connection for capturing a serious topic in a humorous way.
Zaleski says at the end of his video lashing that there’s no need for social media managers. I wouldn’t go that far, but statistics do point to a downward trend. According to newly released stats from career site Indeed.com, growth in positions with the title “social media manager” slowed to 50% in the past year, a dramatic decline from recent years, when triple and even quadruple digit growth was commonplace.
Ryan Holmes, CEO of HootSuite, believes the decline in social media managers indicates a sea change in the way that social media itself is used within organizations. Once the exclusive domain of digital gurus, Twitter, Facebook, and other tools are gradually becoming everyone’s responsibility.
To my mind, everyone’s responsibility means a shared responsibility. Brands do in fact need agency partners who live and breathe digital media to develop a strategic framework and help guide the discussion online. Brands also need people inside the company to step up and field customer requests when they come in via social, and to help deliver “real news” from inside the company.
Social is about real people and real voices — when a skilled staffer or team of staffers takes on social media marketing responsibilities, the authentic voice that comes through is impossible to fake or replicate and that’s worth a lot.
The post For Modern Brands, Social Media Marketing Is A Shared Responsibility appeared first on AdPulp.
I don’t always look at bar graphs, but when I do…
I look at bar graphs from Marketing Pilgrim depicting digital ad spending, which is up 18 percent over last year’s first-half revenues of $17 billion, according to IAB.
What story does this bar graph tell?
One big story is how little brand advertising there is in the digital camp. Digital is dominated by search advertising. The rest of the digital ad pie is split between display, video, mobile, classifieds and various lead generation activities.
No question, display ads are improving in quality, and publishers are finding better ways to feature them on the page today. But of all the categories in digital advertising, video is the most brand-focused medium. A brand can offer commercials, episodic content, consumer-generated content and much more in video.
Another big story is how mobile continues to experience a massive rise in spending. Mobile is the fastest growing of all digital advertising types.
The opportunities for brands to grow their digital advertising capabilities (and see greater returns) is enormous. The opportunity for agencies to get digital right and make good money doing so is also at hand.
My contention is digital is so much more than direct marketing and data analysis. Just because you can measure it, is not reason enough to make measurement the principle yardstick of success.
Digital advertising, like any great advertising has to do more than inform and perform. For brands to be built, digital advertising also must move people emotionally. There’s no metric to measure love, but love is real and getting people to love your brand is the ultimate result of any marketing effort.
The post Search Advertising Is Digital’s Big Dog appeared first on AdPulp.
I spent the past weekend visiting friends in Atlanta, and revisiting familiar haunts. So while taking in a little college football at a sports bar on Saturday, I saw a new (to me, at least) form of distraction: A rotating slide show screen housed in a napkin/straw dispenser, courtesy of a company called Mediacaddy.
I’m not exactly sure how the system works, although slides seem to get semi-updated throughout the day with news tidbits, weather reports, and of course…advertising. Admittedly, the ads aren’t quite there yet:
With 5 Mediacaddys on the bar, I’ll admit I got a bit curious. Mediacaddy is, after all, simply the latest form of interruptive marketing, a modern-day approach to the table tent. But it’s quite in-your-face, so clever POP ad concepts could push sales for the right liquid brand (or taxi service). It’s also a reminder that, in this day of multiple screens to distract the tavern-goer, there’s always room for one more. And there’s always a startup willing to take old-school advertising and slip it into new packages.
The post Mediacaddy Puts A Third Screen Right At The Bar appeared first on AdPulp.
It was nearly nine years ago that Shawn and I said what the hell, let’s give this ad blog thing a run for the money. We’ve learned a lot about the industry, ourselves and about building a micro-media brand along the way, and we continue to marvel at the accelerated pace of change in marketing and communications.
No doubt some of the changes are for the best. Frederic Filloux, writing in The Guardian, notes “we are witnessing the emergence of a new breed of smaller, digital-only outlets that are closing the gap, quality-wise, with legacy media.”
Meanwhile, legacy media companies struggle to maintain relevance in a rapidly changing mediascape. Take the watering down of Forbes, an historic media brand, with what is now a murky sea of contributor-generated content.
Sometimes, I so hate Fake Forbes that allows anyone to write under the Forbes brand. Forbes used to mean something.
— Danny Sullivan (@dannysullivan) October 7, 2013
Legacy media brands are working to find their place in the market today. Paywalls are going up and paywalls are coming down. Editorial lines are being crossed, and tacky advertising intrusions and sponsored content are now commonplace. It’s no wonder a title like Forbes loses its center and its way.
At AdPulp, I feel like we are continually finding our way. This is part of AdPulp’s charm for me and why it remains an interesting project to work on every day. There have been times when I thought of retiring from the site, but I always come back for more. It’s not for the adoring fans and buckets of money. I wish I could say it was. The truth is AdPulp is something I enjoy doing/making.
Naturally, I consider this project and our team to be part of “the new breed of smaller, digital-only outlets that are closing the gap, quality-wise, with legacy media.” I think we along with Adrants, Adland, Adverblog and The Denver Egotist network constitute a whole new layer or block of media — we’re all practitioners who publish “industry insider” trade journals, exclusively online. Does our product stand up against legacy media’s reporting? You be the judge, but on a good day, I’d say it does. But it’s not necessarily the right question to ask of us. Ad bloggers are free to editorialize, whereas real reporters are encouraged to explore all sides of an issue.
I think readers enjoy both the rigor of journalism and the freewheeling nature of micro-media and we attempt to provide a degree of both.
The post Ad Blogs Are Anachronisms. Long Live Ad Blogs. appeared first on AdPulp.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
