Archive | Advertising RSS feed for this section

Ship my Pants — The Strategy Behind Kmart’s Edgy Commercial

15 Apr

      

      Kmart has reinvented the Blue Light Special and it’s… well, a bit blue.  Perhaps too blue for traditional television and that’s part of the unique strategy.

      The original discount department store has pulled a little sophomoric potty humor out of isle ten in hopes of gaining more attention in a retail marketplace dominated by Walmart, Target and Amazon. 

Kmart's "Ship My Pants" commercial created by DraftFCB Chicago.

Kmart’s “Ship My Pants” commercial created by DraftFCB Chicago.

      DraftFCB in Chicago has produced a brilliantly off-color and humorous message promoting Kmart’s ability to “ship my pants,” or anything else from kmart.com for free.   

      The message is very strategic.  Kmart is simply trying to regain lost customers by using humor to remind them that they don’t have to go to Amazon or Walmart to shop online. (Figure 1)

Figure 1

Figure 1

     The unique part of the strategy is to avoid television, and go directly to social media where edgy messaging can exceed the more sanitized boundaries of broadcast television.  It’s a messaging strategy more agencies and brands are exploiting in a multi-digital channel viral world.  In Kmart’s case, it was a brilliant success.  In the first 48-hours, “Ship my Pants” received more than two million YouTube views.

     Kmart is far from alone.  NJOY smokeless cigarettes also just scored a viral hit with Courtney Love dropping the f-bomb in an internet-only commercial that says bad girls can still be bad. 

  

    Several years ago, Ford didn’t have to say a word while promoting a sport version of its successful European compact car named Ka.  It targeted young urban men with an edgy internet video, the likes of which could never air in the United States.  

 

     Sometimes the strategy is not about being edgy, it’s about entertainment.  Turkish Airlines just achieved viral video gold with a commercial featuring two of the world’s best known athletes competing for the attention of a young fan.  The video was such a huge success that the airline created its own infographic explaining how it worked. (See below)

     Central to the strategy in all of these campaigns is the sharable functionality of social media.  Brand loyalists, followers, and viewers of these commercials who like and share the message among friends are in many respects more valuable than an expensive spot on prime time television.  In Kmart’s case, the strategy creates some opportunistic buzz for the brand at a time when JC Penney is hemorrhaging customers and every other discount retailer is still fighting for market share in the economic recovery.  

     Kmart and DraftFCB prove that creativity is still alive and well and fun… if not a little naughty. 

[Note: To keep up with more great video commercials, follow advertising savant John Eighmey]

Courtesy: Turkish Airlines

Courtesy: Turkish Airlines

Tags: , , , , , , ,

The Best Super Bowl Ads That Did NOT Air During The Game

11 Feb
Volkswagen's Das Hund

Volkswagen’s Das Hund

         So you’ve seen all the Super Bowl Ads.  The gals cried over the Clydesdale reunion, the men wanted more of Kate Upton, everyone sang with Jimmy Cliff, and in living rooms across America Paul Harvey’s voice once again made time stand still. 

          There was one Super Bowl ad that didn’t cost a penny and didn’t air on CBS, yet scored a strategic touchdown on social media.  Two more ads that skipped the Super Bowl were equally as creative and targeted, but they too stood on the sidelines as their brands chose different offerings—one a pared down version.

          The most brilliant message was posted on Twitter 20 minutes into the third quarter blackout inside the Super Dome.  The creative team at Oreo cookies, which had earlier aired an ad about people fighting over the virtues of light and dark, fired up their computer and went to the dark side.  They created a simple picture and copy: “You can still dunk in the dark.”  Targeted at social media savvy consumers trolling for entertainment during the black out, Oreo’s brand loyalists found the message and the picture turned viral in minutes.  

Oreos Super Bowl Tweet 2

          For advertising scholar John Eighmey, the stroke of brilliance by Oreo’s team demonstrates that brands don’t necessarily need a multi-million dollar ad budget to get attention.  In a post-mortem forum of the 2013 Super Bowl ads held at the University of Minnesota, Eighmey said, “It proves you don’t need infrastructure, just really smart people.”  He adds, “If you’re smart with strategy, you can react quickly.”

          Another exceptionally targeted ad that never aired during the Super Bowl has just hit the airwaves in Europe.  Volkswagen’s agency DDB played off of well established psychological research showing viewers of advertising most remember dogs and babies.  In Das Hund, DDB gives us the comical story of a dog who thinks he’s a car and falls in love with the new VW.    The target audience is not just dog lovers, but drivers who covet style and performance.   USA Today’s Ad Meter shows Super Bowl viewers liked VW’s Jamaican Get in-Get Happy, but with so much pregame exposure one can’t help but wonder if Das Hund wouldn’t have been a better choice.  

 

       And then there’s Coca-Cola.  I have to admit, I’m a big fan of Coke’s messaging strategy and its new brand extension of encouraging people to conduct random acts of happiness.  I’ve written in a previous post about Coca-Cola experimenting with this strategy in South America.  In the Super Bowl’s first quarter, Coke gave us a new U.S. 30-second version of the same concept complete with a soundtrack from Roger Hodgson formerly of Supertramp.  However, the 1:30 version is actually stronger and dare I say—more satisfying. 

          I’m only one voice, but I would have loved to have seen this version in the Super Bowl instead, perhaps even tied to a social media campaign about sharing one’s own acts of kindness. 

         Game on.   

AdAge/Blue Fin Labs - Top Social Super Bowl Commericals of 2013

AdAge/Blue Fin Labs – Top Social Super Bowl Commericals of 2013

Tags: , , , , , ,

The Strategy Behind Coca-Cola’s Offense on Obesity and Attitudes

15 Jan

 

               The branding factory that is Coca-Cola has popped the cap off a pair of highly strategic campaigns this week aimed at two different audiences but with one over-arching goal—changing attitudes.

                 First, there is the very bold and highly focused commercial taking on the weighty issue of obesity.  The 2-minute spot is an expensive piece of real estate on U.S. television, but in it Coke confronts head-on the growing conversation about the role sugary soft drinks may or may not play in the nation’s obesity epidemic.

                 Like any smart and engaging company, Coca-Cola has done its environmental scanning and clearly sees the risks evolving in the marketplace.  New York Mayor Michael Bloomberg’s assault on large serving size beverages is just the beginning of what could possibly be a disruptive series of regulations and consumer backlash.

                 Coke’s new ad called “Coming Together” has a simple message:  Obesity comes from too many calories and not enough exercise.  While Coke admits it is part of the problem, it also holds that it’s part of the solution.  The message put’s them clearly in the middle of the national conversation.  

Figure 1 - Google Trends data for Coca-Cola and Obesity

Figure 1 – Google Trends data for Coca-Cola and Obesity

                The campaign is strategic not just in its message but its placement.  The ad aired on the evening cable news networks of MSNBC, Fox, and CNN.  Not only would the ad likely be seen by government decision makers and regulators, it knew the networks would also view it as a news story thereby exponentially extending the message’s reach.  The resulting attention created instant growth in internet searches for both Coke and obesity (Figure 1), and according to Alexa visits to Coke’s website grew 40-percent. 

 

                 In its second campaign this week, Coke takes an equally strategic tract but with a different goal.   This time coke gets back to its by roots and core brand promise of sharing happiness.   But in this whimsical spot by Oglivy Brazil, the sharing is of random acts of kindness.  Strategically targeted toward ethnic urban dwellers, Coke extends its already powerful brand by encouraging people to share something other than a Coke. 

                 Two examples of how strong brands can use their equity and loyalty to not only create conversations, but to affect attitudes and behaviors that reinforce the brand’s core values.

Tags: , , , ,

The Best Ads of 2012 – Huffing and Puffing Brand “Magic”

29 Dec
Clint Eastwood emerging from the shadows in Chrysler's "Halftime in America."

Clint Eastwood emerging from the shadows in Chrysler’s “Halftime in America,” one of 2012′s best U.S. ads.

     The year that was in advertising may have given us “Halftime in America,” but it also produced agencies working overtime everywhere else.  Once again, some of the most creative and strategic television campaigns were produced for foreign brands.  Together, they form a chorus signing to the power of using higher level values, metaphors, and emotion to sell a brand promise to the viewer.  

     There’s no better place to start than with Three Little Pigs.   The creative genius of BBH in London takes a childhood nursery rhyme and makes it real in an effort to sell newspapers.  Or, does it?  The strategic idea is that viewers, readers, and social media mavens can create the discussions that drive the news and its coverage—only at The Guardian. 

       It’s not just the framed Wolf doing the puffing.  Grandpa does it, too.  The McCann agency in Oslo, Norway climbed the value ladder to return us to another time when flying was magic.   Its brilliant message is that Norway’s Wideroe is the airline of wonder and freedom, not baggage fees and delays.  It begs the viewer to come to the airline where flying is magic again.

      Another one of 2012’s best is the beer ad you’ll never see in America.  In this case the Aussies take a tired American cliché and turn it on its head.  The folks at Carlton Draught and their agency Clemenger BBDO Melbourne cleverly mock every Hollywood cops & robbers’ schema ever made in an ad they call Beer Chase.

      The chase scene is not only fun to watch but is exceptionally strategic. Its target audience is beer drinking men who prefer their suds from a tap instead of a can.  It even has a unique selling proposition: beer so good you don’t want to spill a drop.

      Finally, 2012 gave us an ad that demonstrates the power of emotion.  Wiedner + Kennedy in Portland produced a powerful message for Proctor & Gamble’s foreign markets that doesn’t sell soap as much as it sells an idea:  we are our mothers.   Their commercial called Best Job is a clear demonstration of the balance theory concept that advertising savant John Eighmey calls “likability of the ad.”    If you like the ad, you’ll like the brand.  In this powerful message, athletes and moms everywhere are the winners.  P & G, too.

     Four ads, four boldly creative messages.  Can’t wait to see what’s ahead for 2013.   Now, where’s my bowl of popcorn?               

Tags: , , , , , , , ,

“Your First Time.” Dissecting Lena Dunham’s Controversial and Strategically Targeted Obama Ad

27 Oct

    

     In a presidential campaign season cluttered with the white noise of attack ads and misinformation, along comes a simple and yet metaphorically powerful appeal.

     It comes by way of twenty-something writer, actor, director Lena Dunham.  The star of the HBO series “Girls” has made a name and brand for herself by revealing many of her own coming of age moments.   

     Dunham’s latest self-effacing reveal is her about her “first time.”  No, not that first time.  

     It’s the first time she voted for a president—Barack Obama.

     The sexually tinged metaphor is powerful, if not controversial.   But from a pure communications point of view, it also one of the more strategically targeted and crafted messages of the fall election.

    Let’s break it down.

            Strategy:  Attract Young Women Voters    

    • Competitive Frame:  Apathy
    • Message Argument:  Make your first vote count
    • Target Market:  Young college-aged women “achievers” who’ve never voted
    • Desired Response:  Vote for Barack Obama

     Idea:  Sexual Innuendo

            Execution:  Woman-to-woman couch conversation

     Part of what makes this appeal noteworthy is its simplicity.  There’s no flashing graphics, no dramatic voice-over, no gotcha video clips, no scary music.  To her peer group, Dunham’s girlfriend-to-girlfriend manner commands attention—let’s talk.  Her exposed millennial sleeve tattoo commands credibility—I’m one of you.   

     Together, they give her standing to talk about why they need to “do it” with the right guy: “A guy who cares whether you get health insurance, and specifically whether you get birth control.”

     The metaphors are powerful, the message consequential.  Which is why it has gathered so much criticism.  The independent women’s forum has called it sexist, and writer Ben Shapiro calls it tasteless.  

      Whatever you call it, it’s also very strategic.  

Tags: , , , , ,

The Best Beer Ad You Wont See in America

15 Sep

            Leave it to the Aussies to take an American cliché and turn it on its head.   

            The folks at Carlton Draught and their ad agency Clemenger BBDO Melbourne have cleverly mocked every Hollywood cops & robbers schema in an ad they call “Beer Chase.”  

            The chase scene is not only fun to watch but is exceptionally strategic.  Its target audience is social media savvy urban men who are beer drinkers and prefer their suds from a tap instead of a can.  It even has a unique selling proposition: beer so good you don’t want to spill a drop. 

            Part of Carlton’s brand is its reputation for quirky ad campaigns that its loyalists have come to expect.  In this age of social media, “Beer Chase” hits that brand sweet spot by encouraging fans and non-fans alike to virally share the ad among friends. 

            When was the last time we saw an American brewer with an ad like this?           

            It’s Brilliant!  Oh wait… that’s been taken.

Tags: , , ,

Twinkies Strikes Gold–The Best Olympics Ad You Wont See

1 Aug

Perhaps one of the best advertisements of the Olympics is one you won’t see on NBC.

The folks from Hostess have created a whimsical and brilliant social media film that simply says there are Olympians… and then there’s the rest of us.  And for the rest of us, there is a special golden reward—Twinkies.

 

The ad created by the Berstein-Rein agency takes the well established Theory of Trying and turns it on its head.  (Think Home Depot: “You can do it, we can help.)

But as fun as this ad is to watch, it’s also a strategically smart piece of communication and critically timed as Hostess goes through bankruptcy.  It targets every person who has tried at something and failed.  Because that includes most of us, it guarantees that fans of the ad will share it on social media.

Additionally, it speaks to what marketers would call lapsed users—consumers who haven’t bought Twinkies in a while. It reminds them that Twinkies are still here, still good, still golden.

So go ahead, treat yourself. (You know you want to)

 

Tags: , , ,

Screen Splitting—How Brands and TV News can Overcome Simultaneous iPad and TV Viewing Habits

28 Apr

It wasn’t long ago that the biggest enemy to television advertisers and programmers alike was the TV remote.  Ah, for the good old days.

New mobile technologies and platforms have given consumers virtually effortless and instant access to hundreds of competing communication channels.  And now we learn that they’re increasingly accessing these channels while actually watching TV—or not watching.  Welcome to television’s latest nightmare.  The monster keeping brands and programmers up all night isn’t necessarily getting bigger, it’s just multiplying.

Two new data sets of consumer research provide valuable insights into how audiences are using media, often at the same time.  The behavior is called screen splitting.  It’s arisen from the explosive growth in mobile technology and even new platforms such as the iPad and tablet computing.  The Nielsen Company’s latest survey of connected device owners indicates depth of this new behavior.  Fully 88 percent of tablet owners and 86 percent of smartphone owners said they used their device while watching TV at least once during a 30 day period.  For 45 percent of the American tablet owners, screen splitting was a daily event, 26 percent said they simultaneously used their tablet while watching TV several times a day. (Figure 1)  The data was similar for smartphone owners.

Figure 1 - Courtesy Nielsen Co. (4th qtr 2011)

The second data set suggests the media switching happens at an almost frenetic pace among many viewers.  Innerscope Research specializes in conducting biometric studies of consumer viewing habits.  In a recent study commissioned by Time Warner, Innerscope outfitted 30 participants with biometric belts that recorded their physical responses as they used media throughout more than 300 hours of time away from work.  The participants also wore special glasses embedded with cameras that tracked what platform they used and for how long.  The results showed that consumers in their 20’s, or digital natives, switch media venues about 27 times per non-working hour.  To put that in perspective—about 13 times per standard half-hour television show or newscast.  Older consumers who didn’t grow up with the new technologies, those who Innerscope calls digital immigrants, shifted media at a 35 percent lower rate—just 17 times per non-working hour.

Together, the research sets tell us how our viewers are no longer sitting at the table to consume our products.  Instead, they’re running through the ala carte line.  They’re not eating whole meals, they’re snacking.  As soon as the instant gratification wears off, they’re onto the next snack.

Given this new reality, the question becomes how do brands and programmers adapt?  From a conceptual point of view, their product has to be positioned to hit the viewer’s emotional and intellectual sweet spot.  Advertising researcher and scholar John Eighmey gives us a conceptual model he calls Reward Theory.  It conveniently categorizes the elements that must interplay with each other for consumers to latch onto a piece of visual communication to consume, enjoy, and share.  It is the same model that explains why YouTube videos go viral. (Figure 2)

Figure 2- John Eighmey's Reward Model for explaining viewers engage in and share content.

First and foremost, the content must be stimulating.  It must be enjoyable to watch, clever, or surprising.  Second, it must have an element of empathy or personal identification. Third, it must lack confusion.  Fourth, is narrative or theme familiar to the viewer? That is, does he or she recognize the theme or scenario in which the information is presented?  Fifth, it must have news value such as a new claim or idea.  Finally, the message has brand reinforcement in that it creates positive attitudes about the message or messenger.

From a practical and operational mode, strong brands have learned that they must create stimulating content and integrate it 360 degrees across multiple platforms and channels.  For Coca-Cola and Proctor and Gamble it’s no longer acceptable to run just a TV ad and a print ad and call it a day.  They now know their brand and content has to live in traditional media, social media, digital media—all the channels that their customers use.

TV Newsrooms must adapt the same strategy.  Some already are.  KTTV, Fox 11 in Los Angeles is now routinely using Google+ to involve viewers in “hangouts” with their anchors during the newscasts.  The hangout participants can even chat with the anchors during the commercial breaks and watch the behind-the-scenes action in the studio.

It’s a smart approach.  Nielsen’s fourth quarter 2011 research on simultaneous TV and tablet usage shows 47% of the general population visited a social networking site during the program they were watching on TV.  Additionally, 37% claim to look up information related to the program they’re watching. (Figure 3)

Figure 3 - Nielsen Co.

If viewers are going to be screen splitting, the goal is to get them to interact with your brand on the second screen or channel.  Here are some tactics for TV newsrooms:

  •  Reporters should steer viewers to Facebook or Twitter for additional content or pictures (you may lose their attention briefly, but you keep them engaged in your brand).
  • During major stories, or continuing coverage, create a branded hash tag for viewers to follow and  interact with.  Display the “lower third” super of the hash tag during the related content.
  • Read what other viewers have to say on Facebook.
  • Let followers know their specific content or posts will be used on-air (everyone likes to be on TV, even if it’s a quote).
  • Replace all talent name supers with their social media addresses.
  • Work with station web page designer to display the real time Tweets of reporters and anchors on the home page.

What’s hard for many brands, especially newsrooms to understand is that consumers seek, use, and bend media content to meet their integrative needs.  Sometimes those needs are for information and knowledge, often times it’s for entertainment.  The latest research from Nielsen and Innerscope show that if brands and programmers can’t meet those needs, the consumer moves on—fast.  It all comes back to what broadcaster Linda Ellerbee’s daughter once said about television, “Live TV is me sitting in front of the set.  If it’s boring, I’m out of here.”

Tags: , , , , , , ,

The Milwaukee Brewers & Aaron Rogers — The Making of a Memorable TV Ad

4 Apr

You don’t have to be a Brewers or Packers fan to enjoy the collision of metaphors in a new baseball advertising campaign.

The folks at 2-Story Creative in Milwaukee have called up the NFL’s Most Valuable Player Aaron Rogers to the pitcher’s mound.  The result is a wonderfully enjoyable piece of communication that gains its power from the use of mixed metaphors.

 

Whether it’s baseball/football, ace/gun slinger, or wind-up/3-step drop, the collision of ideas forces the viewer to think and elaborate about America’s game and being in the stands.

That’s some heat.  Now, pass the Secret Sauce.

Tags: , ,

Fiat’s Branding Machine — What Are YOU Looking At?

20 Mar

For a tiny car, the Fiat 500 is telling a big story.  And it says a lot about how to create multiple brand narratives around a new product.

Fiat 500

Since its creative splash during Super Bowl XLVI, Fiat has given us two sequels that speak to different audiences highlighting unique product attributes to each one.  The brilliance of the Super Bowl Abarth ad is that it took the age-old ”love affair with a car” metaphor and made it real.  The woman seductively bending over at the curb wasn’t just any kind of sex symbol; she was an Italian sex symbol.  It was the embodiment of lust and bust.  “Che cosa guardi?” she screams in Italian.  The translation is simple, “What are you looking at?”  The answer is just as simple–a brand new sexy-hot Italian sports car.

 

Fiat has since followed with two more ads that stretch the storytelling for different audiences.  The latest incorporates another babe–this one in a car seat.  The ad follows two family guys with tickets to the big game and extra baggage strapped into the back seat.  But they get caught behind a grey-haired senior citizen in his vintage Chrysler Imperial.  (Think Clint Eastwood)  But the speed of the Fiat shows this is clearly not Halftime in America–it’s full throttle.  The message: drive the kids in the fast lane.

 

Then there’s the House Arrest ad once again featuring the Abarth, but this time in bad boy black.  The car races through the hallways of a mansion stocked with booze and babes.  When the car finally screeches to a halt in the ballroom, the driver climbing out is none other than Charlie Sheen.  The tag line is “Not all bad boys are alike.”  The message: have fun on your terms.

 

They are three ads with three distinct stories about a new product.  It’s sexy.  It’s practical.  And, it’s fun.  Can’t wait to see what else Fiat has up its sleeve.

Tags: , , , ,

← Older Entries

Follow

Get every new post delivered to your Inbox.

%d bloggers like this: