See Tubi’s satirical films about media buyers for upfront season

“Request for Proposal” was directed by Ghost + Cow (the directing duo of John Carlucci and Brandon LaGanke). “The Gen Z Next Door” was directed by Chelsea Lupkin. And “Under the Impression” was directed by Ghost + Cow and Lupkin together.

This blurring of the line between consumer and B2B is something Tubi did with its Super Bowl campaign as well. The rabbit-hole spot didn’t just help consumers better understand Tubi, it helped all the media buyers watching understand it, too.

“That spot really articulated a lot of what we’ve been saying in our sales conversations and a lot of what we’ve been talking to advertisers about,” Clevenger said. “We’re all watching the Super Bowl. Explaining Tubi visually in such a creative way was not only intriguing to consumers, but to advertisers as well. It made it click.”

More news: Programmatic ads will be part of TV upfront deals

“While B2B marketing can rely heavily on touting the latest ad tech features or metrics, we wanted to speak to advertisers like consumers by creating branded content to entertain,” said Hunter Fine, creative director at Mischief. “It’s true to Tubi’s unconventional style, and comes hot on the heels of the mischief they made at the Super Bowl.”

source

from Digital Marketing Education https://ift.tt/idmjAQG

Yabie payment systems and Animal create a digital campaign that changes in realtime to sell leftover baked goods. Adland®

Yabie make a holistic point-of-sale system and payment terminal that you can set up right on your phone or tablet. Many cafés and restaurants use Yabie, and through that Yabie knows a lot about where the freshest buns can be found around Stockholm.

Thanks to a collaboration with Ocean Outdoor, the “Last Call” initiative has been made possible. Using specialized technology, Yabie’s café patrons can now easily indicate which pastries remain unsold at the end of the day, preventing waste from being needlessly discarded. Food waste is bad for the environment, business, and everyone’s bottom line.

The offer will be displayed on carefully chosen outdoor billboards, targeting Stockholmers during their commute from work. These billboards will provide real-time updates on the discounted price, and also offer location details for the nearest cafe along their route. Why not get yourself a treat when it’s half off? How clever!

“The collaboration between Yabie and Animal shows how innovative and creative campaigns can become new thinking and create value for both customers and society. The fintech industry is a relatively bland category where brands communicate in a similar way without relevance, therefore it is even more important to stand out in order to build the brand with high caliber creativity”, said Karl Garberg, marketing director at Yabie.

Innovative indeed, this is very useful for everyone involved, including me with a sweet tooth on my way home from the office. 100% approve!

source

from Digital Marketing Education https://ift.tt/Deumt7X

Bud Light: Dylan Mulvaney, trans influencer, speaks about controversy

Bud Light’s sales woes caused friction with its distributors and “panic” at the company, sources said. Two brand leaders at parent Anheuser-Busch InBev—Alissa Heinerscheid, Bud Light marketing VP; and Daniel Blake, group VP of marketing for mainstream brands—have taken a leave of absence. Todd Allen, who had been global marketing VP for Budweiser, has taken over Heinerscheid’s role.

Read more: Bud Light’s marketing leadership shakeup

As it has sought to soothe distributors and retailers, Bud Light has avoided making any statements on transgender rights as it seemingly tries to distance itself from an issue that has become a cultural hot button. The matter shows how much has changed in American politics in recent years, if not months, as more brands get pulled into the dialogue. On April 14, Anheuser-Busch InBev issued a letter in which U.S. CEO Brendan Whitworth said the company “never intended to be part of a discussion that divides people.”

Back in 2016, Bud Light made a series of socially progressive ads including one supporting transgender rights that did not draw it into controversy, illustrating a deepening cultural divide since then.

The Bud Light ad that aired Thursday came during the opening round of the NFL Draft on ESPN, an event in which the brand maintained an otherwise muted presence, despite its pricey NFL sponsorship. Bud Light did not post a single tweet during the event, even as its competitor, Miller Lite—which does not hold a league-wide NFL sponsorship—did.

source

from Digital Marketing Education https://ift.tt/rNv7BMW

A New Definition of Creative Adland®

I remember when the word “creative” was an adjective. Of course, today it’s also a noun. I believe this semantic drift is a pretty recent development. David Ogilvy used “creative” as an adjective, not a noun. Back in his day creatives were called copywriters and art directors and they made campaigns. Spell check hasn’t quite made the adjustment yet. When it locates a lone “creative” not paired with a noun in a Word or Google doc, it will suggest using “creativity” instead.

Samuel W. Franklin’s provocative new book “The Cult of Creativity: A Suprisingly Recent History claims the way we use “creative” and “creativity” today is totally new, thanks to advertising.

 

I suggest it’s time to push the meaning of creative and creativity even further. “Creative” in our industry today should not only refer to imaginative ideas and the makers behind them. As clients increasingly demand fully measurable results in advertising, “creative” also can describe the fine art of creating innovative client success stories. As Sir Martin Sorrell once famously observed: “Data enriches creativity.” I would like to propose that being creative nowadays also refers to scientific, ingenious and winning business decisions.

 

 

 

 

Here’s where I’m coming from. After graduating from college I started working as the advertising director at my father’s chain of small town discount clothing stores. The day I started Dad said “Just remember, if the boots don’t sell, the advertising didn’t work.” Simple and eternally useful. We did everything in house, from circulars to silk screen banners, radio production to printing, and weekly creative for forty newspapers. The advantages of having everything under one roof were remarkable. Lower cost, quicker turnaround and total coordination on message. I quickly learned however that I loved advertising much more than the family business. So I went to New York City, resume in hand and got hired by Ogilvy in 1981.

 

Ogilvy was masterful in teaching their global workforce the Ogilvy way. There was a lot of weight put on consistent training and uniformity. And at the heart of the training were David Ogilvy’s philosophies on advertising, the first being advertising’s role was to sell clients’ products and services. Another pillar was “Only first-class business, and that in a first-class way.” His invaluable insights on every facet of the business were captured in short films called Magic Lanterns that were shown only to staff and were highly valued and protected. It’s noteworthy that he started his career selling stoves door-to-door. That led to his strong belief in direct response advertising as well as brand. I met him one night when I was working late. He was in town from London for a board meeting. He walked into my office wearing his trademark tweed suit and we talked for fifteen minutes. He was immensely impressive. 

 

Later, at FCB Direct in San Francisco, I learned the power of direct marketing through direct mail, seeing how tracking and measuring led to constant testing and refinements, which led to increased ROI, and how small changes make enormous differences in response. We produced only mail when I took it over in 1993 but added direct-response TV in my fourth year. A television campaign for a golf club manufacturer which held the world record for distance was outstanding and successful—but caused an uproar in the general side of the agency: How dare we at the direct mail division do TV!  

 

The direct mail and DRTV experience led to my being recruited for CMO of the largest subprime lender in the country. They spent $100 million a year on mail and DRTV. That size budget allowed us to robustly test anything and everything in-market on TV –  frequency, rotation, length, creative, network, local, syndication, broadcast, dayparts, offers, spokespeople, testimonials – and the takeaways were clear and actionable. Among them, frequency is number one in DRTV. Also, the aggregate response from a bunch of targeted messages that spoke with more relevance to individual tranches of consumers always outperformed a one size fits all creative approach. TV was the rising tide that really lifted all boats. 

 

We learned that audiences were very literal–what you asked for you got. By not targeting homeowners in the first few words, one third of the calls were from renters and therefore wasted. We tested dozens of factors. We found that emotion, usually and inexplicably reserved for brand advertising, increased response. When combined in rotation with rationale messaging, response increased even more. But the biggest takeaway was that by testing multiple messages simultaneously on air and in-market, the winners and losers could be quickly identified and when media dollars were redirected to the winning spots, the results shot up fast. This greatly accelerated time to success. Bringing the testing methodology of direct mail to TV was not only rocket science, it was an art.

 

That was then. This is now. Digital disruption has made the marketplace even more complex and an advertiser’s toolbox has grown into a multi-drawer rolling shop chest filled with the likes of MRI Simmons, eMarketer, Commspoint, Tableau, Compere Media, in addition to old standbys Nielsen and Kantar. It takes the skill of a craftsman, indeed an artist, to manipulate these implements, to build predictive models that identify prospect segments based on demographic, psychographic and behavioral insights, to test and retest responses, reduce risks, lower costs and drive more results per ad dollar spent. Yes, it’s about time we acknowledge the fine art of enriching creativity with data and business ingenuity. It’s about time we call it for what it is: Creative. 

source

from Digital Marketing Education https://ift.tt/izcub6M

Nielsen’s JIC absence felt at first Joint Industry Committee event

Nielsen’s absence

In the week leading up to the JIC event, Nielsen called out the organization in a letter for what it perceived as unfair requirements that would favor its new crop of competitors. Despite the JIC’s response, Nielsen’s absence from the JIC upfront doesn’t suggest much optimism that the measurement company would join the group, particularly as Nielsen announced it would revert to panel-based data in spite of industry pushes for big data use in this year’s upfront dealmaking.

Read more: Nielsen’s currency reversal upends upfronts

Of note in the back-and-forth was Nielsen’s assertion that the JIC is undermining the value of Media Ratings Council accreditation, the longstanding seal of approval for the accuracy of measurement data—which Nielsen lost in 2021 and only recently regained. John Halley, president of advertising at Paramount, said in the event’s opening panel the JIC’s purpose is not to audit data like the MRC, but to create roadmaps for big data products that can be utilized industry-wide.

“Saying that JIC certification should require MRC accreditation is just logically flawed—it doesn’t really make sense,” said Halley, noting that while Nielsen’s panel data was reaccredited, its big data add-on, Digital Ad Ratings product and upcoming Nielsen One platform are not. Halley said Nielsen’s push for MRC accreditation as part of JIC requirements “is weaponizing the MRC. I think there’s no other way to look at it.”

That’s not to say that networks and agencies won’t still trade on Nielsen during this year’s upfront using both its panel and big data offerings. Jon Steinlauf, chief U.S. advertising sales officer at Warner Bros. Discovery, said his company has “agencies that are asking to negotiate this upfront on big data, and we would like to take them up on it, whether it’s Nielsen, VideoAmp, Comscore.”

Similarly, TelevisaUnivision is “leaning in so hard to what Nielsen is doing with the big data sets because it’s finally bringing equity” to multicultural audience measurement, said Donna Speciale, the Hispanic media company’s president of advertising sales and marketing. Concerns over Nielsen’s ability to accurately capture diverse audiences through its 41,000-household panel have long been a point of contention for the company.

“Dollars are not being put into this [multicultural] marketplace because of the lack of representation” in measurement, said Speciale. “We have been looking at the big data from Nielsen and the numbers are enormous. That’s because we’re playing catch-up for decades of invisibility in this area. We can’t wait any longer.”

Read more: Donna Speciale on the TV upfront market

source

from Digital Marketing Education https://ift.tt/BtsWgVO

MAA Ad of the Week: New York Times from Droga 5

Newspapers, even in their mostly digital guise, don’t make that much use of advertising. A shame because, despite the inevitable antipathy between rough-hewn journalists and slick ad folk, there have been some good partnerships over the years.

One such still standing is the New York Times and Droga5, a key ally for the paper as the venerable ‘Gray Lady’ has morphed into a successful omnichannel brand.

They’ve done wars and human rights and kept their nerve in the maelstrom of US politics. This campaign simply points out that the NYT helps you to understand an increasing confusing and bemusing world.

source

from Digital Marketing Education https://ift.tt/IGb6kFj

Arsenal legends wind up Piers Morgan for Paddy Power

Piers Morgan, like his long-time adversary Jeremy Clarkson, is a Marmite fixture (although it can be hard to find anyone pro as opposed to anti) and the Talk TV host won’t be over-pleased at these four celebrated Gooners taking the mickey as Arsenal’s Premiership challenge falters. (Morgan is a rabid Arsenal fan but that’s too high a price for these old troupers.)

Betting ads are a blot on the landscape but Paddy Power has its moments.

Arsenal fans are dreaming of a first title in almost 20 years. But not all of them think it would be a good thing.

?18+ BeGambleAware pic.twitter.com/vKRd1SoYXp

— Paddy Power (@paddypower) April 15, 2023

source

from Digital Marketing Education https://ift.tt/wx5VFRY

Can the agency search for new business ever be ‘pitch positive?’

Pitching is always a bone of contention for agencies (and clients of course), a practice to outsiders that seems like some kind of fetish imported from an ancient civilisation.

All industries have their beauty contests but none where it’s ramped up to the same degree. Agencies moaning about it raises a wry smile: if it’s so wrong and stressful why do it?

Interesting to. note that the recent Sainsbury’s pitch was reportedly held under new ‘Pitch Positive’ guidelines, devised to streamline the process and one in which the agencies even got paid (we don’t know how much.)

Mother, which lost out to New Commercial Arts for Sainsbury’s, has won Jägermeister globally, utilising its new ‘Pitch it forward’ offer of donating the first year’s profit on the business to something which promotes creativity.

The Great Pitch company has been looking into the hopes and fears of the cannon fodder who inhabit the trenches of new business. Its findings include, on competition:

Competition is up across on three counts (‘agencies similar to us’, ‘new agencies’ or ‘in-house agencies’) with:
*Increased competition from in-house agencies,’ up to 19% (versus 10% in 2021)
*Increased competition form agencies similar to our agency’ reported by over a third of respondents 36% (versus 30% in 2021)
*A quarter of all respondents noticed ‘increased competition from new agencies’ 24% (versus 10% in 2021).

New business staff would like:

*More respect for the role of business development: “A thank you once in a while.”
*Changes to the pitch process itself: “Creating pointlessly long RFP documents that nobody reads or comments on.”
*The work-life imbalance: “I hope I can protect my own health.”
*The cost-of-living crisis: “I don’t know, I just want more money.”
*Changes on the client side: “Clients ghosting you (going AWOL) and lack of transparency around budgets.”

There are lots of others but you get the drift.

In practice there seems to be only one sure-fire way to win pitches: make clients want to hire you. If clients think you’re a winner, as they clearly do with James Murphy and David Golding at New Commercial Arts and, before that, adam&eve, then they’ll want to be a member of your club.

Sadly this isn’t an option open to very many.

source

from Digital Marketing Education https://ift.tt/XSA0xGz

Hudson Adds Director Anthony Garth Adland®

Full-Service Creative Studio Welcomes Back Filmmaker Known For His Work In Automotive and Fashion Worlds

Proving wrong the old Thomas Wolfe quote about how ‘you can never go home again,’ Hudson – the full-service creative boutique founded in 2013 by director Larry August, his late business partner, EP Audrey Pask, and Managing Director Kristin Redman – has reunited with acclaimed commercial director Anthony Garth. The Detroit native joins a directorial roster that includes August, as well as directors Brett Warkentien, Peter Klein, Jacob Reed, Rachel Harms, Jako, and Cale Glendening.

See Garth’s reel here on Hudson’s website

August notes that Hudson’s relationship with Garth goes back to 2007 when he was a leading director at production company Avalon Films. In 2021 Avalon Films and Hudson Edit merged to form the current Hudson – a move that brought in Wiebke Engel as Executive Producer.

“We’ve been hoping to bring somebody like Anthony, but to actually have him here drives home the relevance of the production side of our studio,” August says. “Anthony is incredibly well-respected in the Midwest for his jaw-dropping car spots, but also around the globe for his incredible fashion and music video work. We see this as a huge step forward for our production arm that immediately puts us on every agency producer’s short-list for that challenging assignment that needs expertise in production and post.”

August adds, “The level of great work that Anthony has done over the years, some of that work in collaboration with the post artists here at Hudson, we feel like this begins a new chapter in the history of Hudson, and we’re all happy to get Anthony back in the family.”

Balancing Imagery, Mood, and Storytelling
Garth was born in Detroit, but raised in California, and that balance between the gritty and the glitter can be found in Garth’s early music video work for then-emerging Detroit musicians like the White Stripes and Eminem.
That balance between striking imagery, mood, and story-telling led him to advertising, finding his niche in both the automotive and fashion worlds. His reel includes projects for Cole Haan, Harley Davidson, Chevrolet, Ford, Lincoln, Dassault, GM, Varvatos, and JEEP among others.

But from Garth’s perspective, automotive and fashion directing are similar in many respects in terms of their marketing approach.

“Just like fashion, automotive is a lifestyle brand, the marketing often is not just about the car driving down the road and you envisioning yourself driving that car,” Garth says. “It’s about living the lifestyle that the car signifies, in much the same fashion marketing does. Fashion, cars, music videos – it all comes full circle under ‘lifestyle.’”

Garth adds the exciting part for him is returning to a company he helped build.

“I was there helping get Hudson off the ground, working with Larry and Audrey in the beginning, and to see it grow into a respected company and force in the Midwest market is gratifying. They have built a polished, well-run machine, and I’m looking forward to adding to its well-earned reputation.”

source

from Digital Marketing Education https://ift.tt/gnrqXcb

Amazon profit and cloud-unit sales top estimates

Amazon.com Inc. reported quarterly profit that topped estimates on its cost cuts and surprisingly strong sales in the cloud-computing division, a sign the retailer’s business is weathering an uncertain economy. The shares gained about 8% in extended trading.

First-quarter revenue increased 9.4% to $127.4 billion, the Seattle-based company said Thursday in a statement, above expectations for $124.7 billion. Operating income was $4.8 billion. Analysts, on average, projected $3 billion.

More: Amazon DSP measurement—what brands are getting wrong

The world’s largest online retailer and cloud-computing provider has been working for more than a year to streamline its businesses to adjust to slowing sales growth in online shopping and its Amazon Web Services division. The company is cutting 27,000 jobs, the largest such cull in its history, with the latest round of layoffs announced Wednesday landing mostly on employees of AWS, its cloud unit.

source

from Digital Marketing Education https://ift.tt/05Ox9pe

WFA updates Global Media Charter

The World Federation of Advertisers (WFA) has updated its Global Media Charter with a call for more competition and innovation in digital search, display, video and commerce, a new push on sustainability and the need for a common carbon calculator.

These are on top of long-standing challenges around ad fraud, transparency in programmatic and talent.

The last version of the Charter in 2018 led to the creation of the Global Alliance for Responsible Media (GARM) and the WFA’s Halo cross-media measurement software code, which is now being piloted in the US and UK.

Gerry D’Angelo, VP Global Media, P&G says: “The publication of the WFA Global Media Charter in 2018 was a seminal moment. It brought together the proposals of global advertisers for a safer and more transparent media ecosystem, and it made possible major advancements in brand safety and cross-media measurement.

“The updated Charter updates the recommendations of global advertisers in light of the areas where we are facing the most pressing challenges – competition, accountability, responsibility, sustainability and people.”

source

from Digital Marketing Education https://ift.tt/RaKEgxt

Lucky Generals shines star power on work experience for Robert Peston’s Speakers for Schools charity Adland®

The awareness-raising campaign from Lucky Generals’ Special Ops team is made of two elements. The first is an organic Linkedin takeover as part of a social campaign #workexperienceforall. High-profile users on the platform are encouraged to change their profile picture, bio and current job to that of their teenage self, reflecting their first work experience placement. This will show their personal work experience story and the journey they went on to become their successful selves.

“Rosie, Rosie, you’re not allowed to sleep here. They want you to leave” – Rosie Holt, comedian

The short film, a thirty-second edit above and the full two minute edit is below, is backed by hard-hitting OOH and digital assets, supported by Mindshare, Clear Channel, Alright Media, and Snapchat, featuring lines such as ‘Don’t Let the Nepo Babies Win’. The objective of this work is to reach out to the younger generation and their parents, with three primary aims in mind. Firstly, to make them aware of the disadvantage they face due to lack of work experience. Secondly, to instill a sense of injustice about this situation. Finally, to empower them to take action to remedy this issue, with the hope that it will reach political leaders and bring about lasting change. This initiative is known as Speakers for Schools.

source

from Digital Marketing Education https://ift.tt/xIrt74c

Live video: Autodesk CMO Dara Treseder on brand building, marketing bets amid a shaky economy

Treseder came to Autodesk last October after leaving her role as the head of global marketing for Peloton.

She used her marketing prowess to help Peloton carve out a leading position within the connected fitness category. Autodesk—the maker of software that powers products across various industries including architecture, engineering, construction, manufacturing, media and entertainment—has tasked her to do the same within its design-and-make software space.

Treseder has already hired Ryan Reynolds’ Maximum Effort as a creative partner, having worked with the agency while at Peloton. Maximum Effort was behind Autodesk’s Oscars ads in March that introduced the world to “Otto Desc,” a Hollywood legend who is praised at first by stars such as actor and director Elizabeth Banks and then revealed later to be entirely made up and in fact representative of the company itself.

Before Peloton, Treseder was chief marketing and communications officer for 3D printing and digital manufacturing company Carbon and CMO of GE Business Innovations and GE Ventures, and was named to Ad Age’s Women to Watch list (now known as Leading Women) in 2018. 

source

from Digital Marketing Education https://ift.tt/tUTfYMP

Corona Makes A “Living Billboard” That Walks Like A Crab

Outdoor advertising is often seen as a blight on the landscape by millions of passers-by in their cars. In many cases, the critics (and would-be shoppers) are spot on in their disdain for the medium. There are a great number of ads in the environment, and a great number of them fail to connect, entertain, or inform.

Corona Peru is on another page with this innovative out-of-home effort made in collaboration with renowned Peruvian artist Edi Mérida. His new cane and bamboo structure with a natural fiber sail emulates the mechanical movements of a crab. 

“I think the most beautiful thing about the project was working with the wind because it is an element that pushes you, drives you, carries you, and can transport you to many spaces,” says Merida. 

Most outdoor advertising is entirely forgettable. Should you encounter this new Ad-Crab in the wild, it would make a lingering impression. It might even whet your appetite for an easy-to-drink beer.

“We decided to transform a traditional and static media element, generally made from non-sustainable materials, into a 100% natural billboard that walks with the force of the wind, being carried away by nature.” Sebastian Palacio, Marketing Director of Corona Peru, explains. 

Agency: Fahrenheit DDB

Related

source

from Digital Marketing Education https://ift.tt/Bwz40QU

Watch the newest commercials from Home Depot, Cricket Wireless, The New York Times and more

Pro wrestler Bianca Belair stars in the latest from Cricket Wireless.

source

from Digital Marketing Education https://ift.tt/5kIBjT2

Meta earnings: Facebook parent sees digital ad boost in first quarter

Meta is working to move faster while cutting costs in what CEO Mark Zuckerberg has dubbed the “year of efficiency.” A slowdown in advertising demand over the last year forced the social media giant, which owns Facebook, Instagram and WhatsApp, to slash headcount and reduce spending, and sparked scrutiny of the billions Zuckerberg has been investing in virtual reality technology. As it pares costs, Meta is still investing in strategic areas like artificial intelligence and the metaverse.

Meta’s stock has climbed 74% this year through the close on Wednesday, recovering from the worst year on record with a 64% decline in 2022. Shares climbed as high as $231.60 in extended trading following Wednesday’s report, after closing at $209.40.

source

from Digital Marketing Education https://ift.tt/SRJHvsd

Invisible Collective wins at 2023 Webbys Adland®

LOS ANGELES—Known for envelope-pushing work, Invisible Collective wins big at the 27th annual Webby Awards. Invisible Collective founder Justin Polk and Invisible-represented director Carl Jones, are bringing home a Webby for “Undeniable – Stories from the Negro Leagues”, an animated series they co-directed for Major League Baseball (MLB). And freshly signed Invisible directors, The Turner Brothers, have won a Webby for their Nike Air / Social Status campaign to boot.

Undeniable is a Webby winner for Animation in the Video / Series category. MLB’s first-ever animated series, Undeniable, highlights untold stories from the history of Negro Leagues, including its most legendary players, women of the league, and its international reach, as part of a multi-pronged effort by MLB to celebrate Black History Month.

The creative and production for Undeniable was led by Polk, who partnered with Carl Jones (“The Boondocks,” “Black Dynamite”) and his animation studio Martian Blueberry. Together, they highlight the League’s underrepresented stories with an exquisite and nuanced animation style. From the precise color blue on the Indianapolis Clowns’ uniforms to the cultural accuracy of the player’s physical features, the devoted Black-led animation team at Martian Blueberry went to great lengths to achieve historical and cultural accuracy in their animation, elevating Undeniable to its award-winning status.

Likewise, The Turner Brothers, a distinctive directorial duo newly signed to Invisible Collective, brings home another Webby for their Nike Air / Social Status campaign. Last year, the first part of this campaign entitled “Free Lunch,” won the general public vote for Best Video Campaign, and this year, part two, “Recess & Playground,” won Best Video Campaign in the Advertising category. Laced with engaging point-of-view shots and animated movement, the comedic narrative short follows a teenage basketball player through his action-packed, funny, and over-the-top life.

These projects rose to the top of the pile during a stand-out year for the Webbys, in which they received nearly 14,000 entries from over 70 countries across all categories.

As Invisible Collective celebrates this exceptional achievement, they are also looking forward and going global with the launch of Los Invisibles, a new division serving the Hispanic market in the US, Europe, Argentina, and Mexico.

source

from Digital Marketing Education https://ift.tt/9R5bCx7

Blue Diamond names Spark Foundry media AOR

The brand had previously worked with Harmelin Media since 2011, but Spark Foundry’s commitment to audience-based media is what Blue Diamond needs to move media further forward in its overall business strategy, according to Jason Merideth, who took over as VP of global marketing at Blue Diamond Growers in October.

More news: Vans hires OMD as global media agency

“It was a great relationship with Harmelin over the last 12 years, and they really helped drive Blue Diamond through a critical phase in our growth,” Merideth said. “In looking at the need for us to take our next level of growth, we realized we would need enhanced capabilities in the journey to do that on the media side.” 

The decision was made after a pitch led by Select Resources International. Harmelin could not be immediately reached for comment.

Blue Diamond Growers spent $43.3 million on U.S. measured-media in 2022, according to Vivvix, including paid social data from Pathmatics. The company’s retail sales exceeded $1.2 billion in the last year.

While Blue Diamond’s almond milk and almond snacks are No. 1 in market share, there’s room to grow, said Merideth.

source

from Digital Marketing Education https://ift.tt/Y7OruLz

Invisible Collective wins at 2023 Webbys

none

ad awards etc

adnews

Previous

source

from Digital Marketing Education https://ift.tt/ePSBYrF

Vans hires OMD as global media agency of record

While Vans previously worked with Publicis Groupe’s Starcom, this is the first time the brand has brought on a global media AOR, a Vans spokesman said. Starcom didn’t immediately respond to a request for comment.

Vans plans to spend $94 million in its first year with OMD the spokesman said.

Sales falling

“The decision to consolidate external support and identify one global media agency comes as Vans continues its transformation into a digital-first and consumer-centric brand. It will be through this partnership that we will reinforce authentic and meaningful consumer connections while also driving efficiencies and the ability for localization within key markets,” Carly Gomez, VP, global marketing at Vans said in a statement.

The agency news comes a few weeks after it was reported that Vans CMO Kristin Harrer departed after two years in the position. The brand didn’t immediately respond to questions about a replacement.

Vans, one of VF Corp.’s largest brands, is experiencing pressure. Vans revenue fell 13%, or 9% in constant currency, in the fiscal third quarter. Vans revenue in constant currency was expected to decline in a high-single-digit range for the full year, a steeper drop than the prior forecast of a mid-single-digit drop, VF Corp. reported in February.

Despite what VF Interim President and CEO Benno Dorer called an “increasingly challenging” third quarter, he reaffirmed that VF as a whole was projecting 3% revenue growth for the year.

VF Corp., which also owns brands such as The North Face, Timberland, Supreme and Dickies, spent $840.6 million on advertising and promotion in the fiscal year ended in April 2022. That’s an increase from the $608.1 million spent in 2021 and $756.3 million spent in 2020.

source

from Digital Marketing Education https://ift.tt/jzBhKUG

What Tucker Carlson’s Fox News exit means for advertisers

The potential to replace Carlson with another host could be a positive change for advertisers, said Wieser.

“If [Fox] were to provide a perch to someone else who is espousing white nationalist views, I think it’s safe to say that advertisers with large brands will continue to stay away,” said Wieser, who also noted that “the impact is not just on the one show—there are advertisers who stayed away from Fox and News Corp more generally because of association with him.”

The lineup of advertisers for “Tucker Carlson Tonight” is mostly void of major, national brands and is rather populated by direct-response advertisers, which Fox Corporation Chief Financial Officer Steve Tomsic said represented a soft market in the company’s second-quarter earnings. 

For Fox News more broadly, its top advertisers over the month of April haven’t differed substantially from those of “Tucker Carlson Tonight,” with the most notable brand added to the list being Liberty Mutual, according to iSpot.

source

from Digital Marketing Education https://ift.tt/6Zt721d

22Squared hires Toygar Bazarkaya as chief creative officer

“Bringing in a chief creative officer that can galvanize the teams and push us forward has been a priority for us this year,” said Erica Hoholick, 22Squared’s CEO. “Toygar brings a proven history of creative excellence and an agile approach that will elevate our team and grow our business.”

“22Squared brings the high-touch service only an independent agency can offer at the scale of a network agency. It really is the best of both worlds,” Bazarkaya said. “The agency is special—it has great fundamentals, is 100% employee owned and has put together an amazing team. I am excited to join 22Squared, create some great work to grow our clients’ business and have fun while we’re at it.”

The agency’s most recent CCO was Matt O’Rourke, who left last year and has since opened his own shop, Super Serious.

source

from Digital Marketing Education https://ift.tt/dMD7VlU

New commercials: T-Mobile, Visionworks horror movie, Meijer, Synchrony Financial, Mizuho

A few highlights: Actor Ben Barnes helps T-Mobile hype its Easy Unlock phone upgrade program for current AT&T customers. Visionworks serves up a clip from a faux horror movie, complete with subtitles, as a ruse designed to encourage viewers to schedule an eye exam. And supercenter chain Meijer promotes the Meijer LPGA Classic for Simply Give.

source

from Digital Marketing Education https://ift.tt/J8ug0qP

Google parent Alphabet’s ad sales recover, revenue tops forecasts

Search advertising has been more resilient during swings in the economy than spending on social media, where digital media competitors such as Facebook parent Meta Platforms Inc. and Snap Inc. have seen more dramatic declines in demand. Even video site YouTube, which has been a drag on the company’s results in recent quarters, performed better than expected, drawing $6.69 billion in advertising revenue, though it still registered a drop from the year-ago quarter.

“Search performance will serve as an early indicator of Google’s ability to maintain its dominance in the area responsible for the majority of its revenue,” Evelyn Mitchell, a senior analyst with Insider Intelligence, wrote in a note.

Recent news: Google expands visibility into who’s behind ads

The company’s closely watched cloud unit, which is much smaller than competitive offerings from Microsoft and Amazon.com Inc., reported a profit of $191 million. As its core search advertising business matures, Google sees cloud as a growth area. Alphabet said in a note to investors ahead of the results that it had shifted the reporting of some costs from Google Cloud to Google Services, likely aiding the long-running campaign for profitability.

source

from Digital Marketing Education https://ift.tt/ZufQPa8

BBDO warns against generative AI for client work

Robertson outlined a series of guidelines for employees to follow as the agency explores and potentially integrates generative AI into its future business. Employees are not to use generative AI tools for client work unless approved by the agency’s legal team, should not invest in paid AI tools and should speak with Roberston first before engaging with clients about using AI in business and strategy. Some BBDO clients have already rejected work where this kind of AI was used, according to the memo. 

But employees are encouraged to explore these new tools in internal sandbox environments, and a multidisciplinary group of people from agencies, IT, security, training and development and legal was created to explore the future use of generative AI for the agency. 

“We will continue to experiment and explore AI as much as we can, because we know how exciting it is, but we are focusing on understanding the ins and outs of these tools outside of the public domain as much as possible while we’re still learning,” the agency said in a statement. 

source

from Digital Marketing Education https://ift.tt/HbzEJon

Thriller: Ryan Gosling Escapes with A New TAG Heuer Carrera

Actors. They’re always acting. Ryan Gosling, for instance. Even when he’s lifting an expensive timepiece, he’s acting like it’s no big deal. But it is a big deal. No one—not even a Hollywood movie star—walks off with a TAG Heuer Carrera and gets away with it.

The watches in this heritage collection from TAG Heuer range in price from $3200 to $24,050 (expensive, but well within Gosling’s range, should he choose to buy one).

“TAG Heuer Carrera is one of the most iconic collections, not only for TAG Heuer but in the whole watchmaking world. It was designed by Jack Heuer himself in 1963 and inspired by the Carrera Panamericana, a very dangerous road race in Mexico,” says George Ciz, Chief Marketing Officer, TAG Heuer. “Some of the greatest drivers in history have worn it.”

Credits:

• DDB Paris
• Produced by David Leitch’s 87 North
• Directed by Nash Edgerton

Related

source

from Digital Marketing Education https://ift.tt/xuHyYJ6

Metro by T-Mobile selects OKRP as US creative AOR

“We knew we had to do our homework to really understand Metro and its customer—and owe a lot to the team at Metro for being partners before they were clients,” Nick Paul, president of OKRP, said in a statement. 

The appointment comes three months after Jon Freier, president of T-Mobile’s consumer group, released a statement detailing plans to reimagine T-Mobile’s brick and motor stores which include launching “Express stores.”

“Our new Express format—branded as Metro by T-Mobile and operated by Authorized Retailers—will offer fast ways to purchase prepaid and select postpaid products. Express will also create new jobs for the entrepreneurs (who often live in the communities) operating them,” Freier wrote.

Other changes include more investments in mobile trucks, in-store digital experiences and kiosks within big-box retailers such as Costco, Walmart and Best Buy.

Last month, T-Mobile also announced that it would be acquiring Ka’ena Corporation and its subsidiaries and brands including Mint Mobile and Ultra Mobile.

source

from Digital Marketing Education https://ift.tt/6n0lqrK

Do Pets At Home customers see the funny side?

Posted by: Stephen Foster

in Advertisers, Agencies, Creative, Finance, News

17 hours ago

The world, you may have noticed, has gone pet mad – and not just those yappy cockapoos blighting the neighbourhood since lockdown.

UK firm Pets At Home has over 450 stores and a market cap around £2bn, about half of Sainsbury’s. Brand agency Nomad and The&Partnership are giving the brand a makeover (not that it seems to need one) with a new campaign featuring some pet-related follies.

Quite brave really as many pet owners might find the activities depicted as perfectly reasonable, may even be offended that some may find a full operating team on a hamster overkill.

MAA creative scale: 6.5.

featured pets at home 2023-04-24

source

from Digital Marketing Education https://ift.tt/XorUP9f

How local presence management drives brand discovery

Today’s marketers can ill afford to overlook any channel or strategy that has the potential to bring new customers to the brand. And while most marketers would not likely put local presence management in that category, new research proves that’s exactly where it belongs.

Local search is widely acknowledged as one of the most critical drivers of business outcomes in digital experience today. Closely integrated with core SEO functions, local search comprises best practice optimization, content and media to develop a holistic and performance-focused experience that commands attention from both consumers and search engines.

The foundational component of local search is local presence management. This is the multidisciplinary practice that requires managing all aspects of a company’s local online identity through optimization of vital information, such as online reviews and Google Business listings, as well as effective execution of tools and tactics such as local SEO.

A new study by DAC uncovers the correlation between local presence management and brand discovery. Those businesses that strengthened their approach to the practice saw a significant jump in rankings for nonbranded searches (i.e., generic searches for a product or service that do not include a brand name) conducted through the Google Maps channel.

Moreover, those same companies also saw a corresponding leap in business outcomes, such as an increase in call center activity, website visits and requests for directions.

This direct impact on non-branded search discovery takes local presence management beyond the realm of IT or customer service, where it often resides, into a necessary component of
overall marketing strategy. But critical steps remain in order to make this change a reality.

A wider scope, greater accountability

Marketers not yet prepared to make the leap may be held back by one of two things: a narrow overall view of local digital strategies, as only impacting what a customer does in the last mile; and organizational barriers, including silos and measurement accountability, that prevent a holistic approach to local presence management.

Many marketers continue to associate local presence management with business listings. While maintaining accurate and thorough listings remains an essential part of the practice, many other elements are necessary to deliver the best results. These include:

•    Reviews. The numbers matter, so keep them up to date. An old review can instantly undercut a business. And sheer volume matters just as much. Statistically, it’s important to reach certain thresholds of numbers of reviews to maximize local search returns on Google.

•    Visuals. Today’s SERP is increasingly visually driven, and photos are an especially important content field to populate on a Google Business Profile (GBP) page. Marketers have to know the kinds of images that people seek when conducting an online search for a particular type of retail business.

•    Local SEO. Consumers don’t use just one way to discover local businesses. Thus, ensuring proper listing management, with a focus on GBP, of course, due to volume, on all of the platforms that drive discovery is paramount for success. Different platforms make different content fields available, so not only do marketers need to complete this content in an optimized way, but it needs to be done to satisfy the algorithm and consumers alike.

Working toward a holistic approach

By now, most successful companies have solid fundamentals in place for their local online presence. One would be hard-pressed to find a poor listing from a major enterprise brand. But many organizations still lack a willingness or ability to connect all of the different aspects of local presence management, such as reviews, to broader SEO programs, or a plan to integrate these tools with local experiences, digital platforms and media.

To an extent, this is a reflection of the same silo challenges that hinder holistic execution and measurement across many marketing disciplines. Separate teams often handle SEO, landing pages, listings, reviews and online reputation management. It is also a reflection of the way technology companies position local to CMOs—as a series of disconnected solutions for each individual channel problem.

Still, many of these barriers would begin to fall if the local channel were held to the same level of accountability as advertising and paid media. As any chief experience officer knows, there are many ways to influence revenue outcomes apart from advertising. Brands that are truly customer- and audience-centric have the wherewithal to align local tactics with the rest of their marketing and extract as much value, if not more.

And now, DAC’s research promises the data to back them up. Local practices are not only about showing up for existing customers, but also creating a whole new layer of visibility for everyone who interacts with the brand.

None of this is meant to suggest that effective local presence management is easy. On the contrary, it is hard work. But just think about how much it would cost to generate similar volumes around nonbranded discovery searches from paid media. In this light, it becomes clear that the potential payoff is well worth the effort.
 

source

from Digital Marketing Education https://ift.tt/GV2p9t3

What ChatGPT “Thinks” About Ageism in Advertising and Media

Discriminating against people due to their age is a pox upon advertising and media houses. It’s bad business, and another bad business practice is the last thing that these industries need, right now. Ageism is also a particularly perplexing issue emanating from professional workers who truly ought to know better. Given that everyone who is alive is aging, it’s just a matter of time before it’s your turn.

The problem of ageism is one that I’ve addressed for several years (in these pages and elsewhere). I figure it’s time to give the machine a chance to weigh in.

My Query: Why is ageism such a painful problem in the advertising and media industries?

ChatGPT: Ageism is a painful problem in the advertising and media industries because it perpetuates negative stereotypes about aging and fosters a culture of exclusion, particularly among older workers. Ageism can come in the form of discriminatory hiring practices, marginalizing older workers, and underfunding media content targeted toward older audiences. Ageism can also affect the way products and services are marketed and portrayed in media. Advertisers and marketers may assume that older people are not a profitable demographic, and as a result, fail to appeal to them. This can lead to a lack of representation of older people in advertising, which can further perpetuate negative stereotypes about aging. Moreover, ageism impacts individuals’ self-esteem and sense of dignity. Ageism makes older workers feel like they are less valued in the workforce, despite their experience and expertise, and it can make older people feel invisible and marginalized in society. Ageism needs to be addressed in advertising and media to foster a more inclusive and diverse industry that welcomes all ages and promotes positive images of aging.

Well, okay then! Even ChatGPT knows that changes are needed to heal what is broken.

It’s interesting to me how the machine posits that advertisers and marketers may assume that older people are not a profitable demographic, and as a result, fail to appeal to them. Yes, there is one bad assumption after the next in the ageism mix. And making assumptions without the benefit of data or good judgment is always a dangerous proposition. For instance, it’s well established that Boomers have most of the money in this nation, and the people most acutely aware of this are Millenials.

The machine does not offer us any ideas to combat ageism and all forms of discrimination. I’m a human—I’ll do it. Ageism is hard to prevent because of the toxic mix of bias and greed that fuel it. Changing minds and changing behavior requires more than persuasive words and/or ad campaigns can do. For real change, there has to be accountability and a penalty for bad behavior. Maybe the 4As could drop an agency’s membership and Cannes and One Show could refuse to award the worst violators.

What did Bill Bernbach say? “It’s not a principle until it costs you money.” Punitive actions from groups that make money from agencies are not going to happen. What about a class action lawsuit representing the thousands of people who’ve been “aged out” of the business? I’m for it, but the problem won’t be legislated away. The violators need to discover the power of experience on the bottom line. Until that occurs, there’s going to keep believing in using cheap labor to solve expensive problems.

Related

source

from Digital Marketing Education https://ift.tt/786Oivc

Mother’s ‘about flushing time’ campaign launches new period brand Fluus

Fluus is the first fully-flushable period pad, developed by a group of young eco-entrepreneurs looking for a solution to a problem: 30% of (traditional, non-flushable) sanitary pads get flushed down the toilet regardless.

Instead of clogging up the drainage system, Fluus pads are made from a biodegradable, microplastic-free material, making them 100% flushable. Mother’s message spells this out very clearly on OOH sites across London, as well as through PR and digital.

Fluus co-founder, Dr Olivia Ahn, said: “After years of development and fundraising, we’re finally in a position to be able to spread the news of our revolutionary technology far and wide. When people see a Fluus ad, we want them to stop in their tracks and ask ‘why hasn’t anybody invented this already!’ Watch this space as we get the UK flushing and make a genuine, tangible impact on the dangerous levels of plastic-packed products flushed year on year.”

Mother created the campaign with two of its “family” businesses – incubation unit Broody and Mother Design – as well as sustainability agency Alfred. Fluus’ Head of Marketing, Fran Morrison, has worked at Lloyds, Boots and Body Shop.

The 70% of people who’ve never flushed a period pad might take some persuading that it’s an OK thing to do, but then they are not the problem.

MAA creative scale: 6

source

from Digital Marketing Education https://ift.tt/Mn1BZ4E

Agency Report 2023: Business transformation

Companies are listed in order of percentage of revenue from the revenue bucket shown. This is not a ranking; revenue buckets are specific to each company and not comparable across companies.

Buckets include services related to transformation, but some of these companies may have revenue from other transformation-related services not captured here.

See facts and figures on the 25 biggest agency companies including agency holdings, stats and profiles, available to Ad Age Datacenter subscribers: AdAge.com/agencyfamilytrees2023.

More from the Agency Report: The agency business scored solid growth in 2022 as revenue increased in every discipline and U.S. ad agency employment reached an all-time high.

source

from Digital Marketing Education https://ift.tt/ky7iY6E

Agency Report 2023: Expanded agency listings

Excel download: Expanded agency listings by discipline

Agency listings in Excel with links to Agency Family Trees 2023 database.

Note: Agency listings are no longer rankings because listings exclude agencies owned by a number of major agency companies that don’t disclose revenue by agency or network. Given changes in how agencies, networks and agency companies go to market, Ad Age no longer publishes revenue estimates for those agencies and networks.

This Excel sheet includes tabs with listings for:

Ad agencies

• Ad agency services networks: worldwide
• Ad agency services networks: U.S.
   

CRM/direct marketing

• CRM/direct marketing networks: worldwide
• CRM/direct marketing networks: U.S. 
   

Health care

• Health care agency networks: U.S.
   

Media

• Media agency networks: U.S.
   

Promotion/experiential marketing

• Promotion/experiential marketing networks: U.S.
   

Public relations

• Public relations agency networks: worldwide
• Public relations agency networks: U.S.

   

source

from Digital Marketing Education https://ift.tt/LBg7Uom

Agency Report 2023: Revenue growth

Source: Ad Age Datacenter (Ad Age Agency Report 2023).
Agency companies database: AdAge.com/agencyfamilytrees2023.
Expanded listings: AdAge.com/agencyreport2023.
About Agency Report: AdAge.com/aboutagencyreport2023.
 
Revenue submitted by agencies and companies on Ad Age questionnaire, obtained from public documents or estimated by Ad Age Datacenter. Revenue and listings for 2022 based on data collected and/or adjusted in 2023. Numbers rounded.

Organic growth by agency company:
Source: Ad Age Datacenter (Ad Age Agency Report 2023) from company disclosures. Organic growth is growth excluding acquisitions, divestitures and effects of exchange rates. Organic growth for WPP, Publicis, Interpublic and Dentsu based on net revenue or figure similar to net revenue. Organic growth for Omnicom based on revenue. Dentsu 2020 U.S. figure is for Americas. Numbers rounded. 2023 forecast: Company guidance from February 2023 earnings calls and disclosures.

U.S. agency growth by discipline:
Source: Ad Age Datacenter (Ad Age Agency Report 2023).
Disciplines may overlap. For example, a health care agency may generate a portion of its revenue from customer relationship management/direct marketing, or a public relations agency may generate a portion or all of its revenue from health care marketing.
1. Increase of 9.9% in 2022 factors in agencies captured in Ad Age Agency Report 2023 and disclosed organic growth for major agency holding companies.

Agency growth over time:
Source: Ad Age Datacenter (Ad Age Agency Reports).  Increase of 9.9% in 2022 factors in agencies captured in Ad Age Agency Report 2023 and disclosed organic growth for major agency holding companies.

---

© Copyright 2023 Crain Communications Inc. The data and information presented is the property of Crain and others and is protected by copyright and other intellectual property laws. For personal, non-commercial use only, which must be in accordance with Ad Age’s Terms and Conditions at AdAge.com/terms. Archiving, reproduction, re-distribution or other uses are prohibited. For licensing arrangements, please contact [email protected].

source

from Digital Marketing Education https://ift.tt/PeiQYTc

Introducing Agency Report 2023 | Ad Age

Agencies face headwinds of slowing growth in digital advertising and a potential recession.

Yet amid the warning signals, investors have been bullish. Shares in one of the world’s biggest agency companies last week reached an all-time high.

That in part reflects how agency companies are striving to move the business from creating ads to a bigger stage of creating change for marketers.

The Agency Report examines how agency companies are positioning themselves in the burgeoning field of business transformation, a wide-open sector that could help insulate agency companies from an advertising downturn and recession.
 
But the CEO of one top agency firm cautioned: “I don’t think anything in the world is recession-proof to be blunt.”

source

from Digital Marketing Education https://ift.tt/E1w9bLm

How to get listed in Ad Age Agency Report 2024

Want to appear in Ad Age Agency Report 2024? Fill out the Agency Report Questionnaire (see download below).

 

Each year, Ad Age Datacenter produces Ad Age Agency Report, including industry analysis and listings.

We will publish the 80th annual Ad Age Agency Report in spring 2024. We published the most recent report on April 24, 2023.

The questionnaire for Ad Age Agency Report 2023 is available below. If you’d like to be apprised when the 2024 questionnaire is available, please fill out and submit the 2023 questionnaire now so that we can reach out to your agency in 2024.

Ad Age Agency Report is open to all types of agencies (including ad agencies; business-to-business; CRM/direct; data/analytics; digital, mobile, search marketing and social media; health care; media; multicultural; promotion and experiential/event marketing; and public relations).

To be included in Ad Age Agency Report, each agency, network and company needs to complete a questionnaire, downloadable as an Excel worksheet. 

Download the Excel file here (arq2023.xlsx)

Email completed forms to [email protected].

Questions? Email us.

About Ad Age Datacenter:

Ad Age Datacenter includes expanded content available only to Datacenter subscribers.

For Ad Age Datacenter subscription information, call 877-320-1721, go to AdAge.com/getdatacenter or email [email protected].

Next edition of Ad Age Agency Report: spring 2024. To view listings from the most recent report, go to Ad Age Agency Report 2023.

source

from Digital Marketing Education https://ift.tt/a4QAsM0

About Ad Age’s annual Agency Report

Access the report online

AdAge.com/agencyreport2023. Links to all content.

Ad Age Agency Family Trees 2023. Facts and figures on the world’s 25 biggest agency companies including agency holdings, stats and profiles. Exclusive content available to Ad Age Datacenter subscribers.
 
Expanded agency listings. Exclusive content available to Ad Age Datacenter subscribers.

How to subscribe to Ad Age Datacenter

Go to AdAge.com/getdatacenter
Call 877-320-1721
Email [email protected]

Print edition

To order a copy of Ad Age’s April 24, 2023, print edition including the print version of Ad Age Agency Report 2023, email [email protected]. 

Contact us

[email protected]

Methodology 

Information for Ad Age Agency Report 2023 came from questionnaires submitted by agencies and agency companies and from analysis and estimates by Ad Age Datacenter.

Effective with Agency Report 2023, agency listings are no longer rankings because listings exclude agencies owned by a number of major agency companies that don’t disclose revenue by agency or network. Given changes in how agencies, networks and agency companies go to market, Ad Age no longer publishes revenue estimates for those agencies and networks.

Ad Age expanded Agency Report’s online Ad Age Agency Family Trees 2023 to include additional content related to organic growth, disciplines, geographic revenue, client sectors and number of employees for agency companies where available based on financial disclosures and information provided to Ad Age by the companies.
 
Ad Age’s ranking of the world’s 25 biggest agency companies is based on revenue.

Agency and network figures generally are modeled on reported or estimated net revenue (revenue less pass-through costs). Pass-through costs include third-party vendor costs, production costs, media costs and out-of-pocket expenses that are charged directly to clients.
 
WPP, Publicis, Interpublic and Dentsu disclose both revenue and net revenue (or a figure similar to net revenue). Those four companies emphasize net revenue (or a figure similar to net revenue) as a measure of performance. Omnicom only discloses revenue.

Agency Report Questionnaire

Ad Age’s Agency Report Questionnaire is available here.
 
If your agency missed the deadline for Agency Report 2023, fill out the questionnaire and email it to [email protected]. We’ll add you to our database.
 
Questionnaires for the spring 2024 report will be available in January 2024.

Agency Report archive

Agency Reports are available online back to 1998.

Agency Report staff 

Ad Age Datacenter directors: Kevin Brown, Bradley Johnson
Research editor: Joy R. Lee
Research assistants: Anna Carlson, Brian Gilbert, Erika Gill, Jack Longo

source

from Digital Marketing Education https://ift.tt/fj8EhUt

Los Angeles SEO

Home Blog Contact Bobs SEO Is A Top Los Angeles Search Engine Optimization Consultant For Local Businesses Are you looking for a reliable search engine optimization (SEO) consultant for your local business in Los Angeles? Look no further! Bob's SEO is the top choice for any and all businesses searching for an experienced, knowledgeable, and […]

Source

from Bobs SEO Company https://ift.tt/379C4ry
Bobs SEO expert

Bud Light-Dylan Mulvaney: brand’s marketing leadership undergoes changes

Bud Light erupted into controversy after Mulvaney showed off a Bud Light can with her face on it in an April 1 Instagram post, striking a nerve among conservatives including musicians Travis Tritt and Kid Rock. The controversy appears to have impacted sales, with Bud Light cases down 10.7% for the week ended April 8, according to Beer Business Daily.

Heinerscheid was dragged into the controversy when remarks she had made about changing Bud Light’s marketing in a podcast surfaced in news reports about the Mulvaney post. In the podcast, which was recorded before the controversy, Heinerscheid denounced Bud Light’s previous marketing as “fratty” and “out of touch” and suggested the brand could use more inclusivity. 

According to a statement from City Distributors, a Topeka, Kans.-based Anheuser-Busich distributor, the custom can decision “circumvented the proper approval channels.”

Anheueser-Busch was silent on the matter for two weeks before issuing a statement on April 14 from CEO Brendan Whitworth, who wrote that “We never intended to be part of a discussion that divides people. We are in the business of bringing people together over a beer.”

 

source

from Digital Marketing Education https://ift.tt/j8hGxYD