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Google has partnered with online reviews company Feefo to bolster its AdWords network with the incomer’s review-based advertising expertise.

Feefo, which works with the likes of Next, Vauxhall, Expedia and Thomas Cook, will lean on its sentiment analysis tech to discover relevant advertising keywords from the thousands of brand reviews it processes. These can then be input into digital ads where it boasts ‘up to a three or four-fold increase in click-through-rates (CTR)’ against conventional means.

Adrian Blockus, head of channel sales for the UK and Ireland at Google, explained: “We’re pleased to have Feefo on board as a Google partner. Feefo has the product knowledge, advanced technology and insight needed, to create and optimise Google AdWords campaigns for their customers.”

The keywords drawn out by Feefo can also be used to spruce up brand copy and landing pages to reflect the language and sentiment used by consumers in their reviews.

Matt West, chief revenue officer of Feefo, added: “We use our unique insights to lend a powerfully persuasive new voice to adverts.

“We are focused on using the power of our smart innovative technology to extract the maximum possible value from consumer feedback on behalf of our clients, and remain committed to helping consumers make confident, informed decisions based on real reviews they can trust.”

Feature Image Credit: Google AdWords bolstered by Feefo

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Sourced from THEDRUM

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Back in the land of B2C marketing, I could build a water-tight business case for TV using insight from Think Box, present a strong argument for redeveloping my e-commerce process by pointing to indisputable benchmarking data, and get under the skin of my target customers using a bucket-load of comms planning tools.

Best of all, I could prove the impact of my efforts to senior management.

“Just look at those numbers! No, seriously. Look. At. Those. Numbers.”

Before long I was up for a fresh challenge, so I jumped ship and embraced the B2B world.

Things were, shall we say, different.

My tried and tested methods didn’t land in the same way.

And it got worse.

The finance director said the B2B marketing budget was discretionary.

And if that wasn’t enough, the sales team got all the credit for the revenue generated.

10 years down the line and again things are different – only this time in a good way. I still use insight and benchmarking to inform my marketing planning where I can – but I’ve learned other ways to convince the board of the importance of investing in B2B.

Fingers crossed you never hear the dreaded words: “The B2B budget is discretionary.”

But if you do, these seven tips will help you present the case that a healthy B2B budget is a must-have, not a nice-to-have.

Get closer to your business

Marketing shouldn’t be a silo. Get to know the various levers in your business – the things that influence the outcomes your business is trying to achieve.

For example, the marketing budget is an important lever as it influences how many leads are generated. The pricing of your product and the effectiveness of your sales team will influence conversions. While your customer relationship management will impact how long customers stay with you and how much they spend.

Understanding these levers will help shape your marketing strategy – and improve its effectiveness.

Know the magic number to ask for

It’s hard knowing what a realistic B2B marketing budget looks like, so it’s useful having some credible research in your back pocket. The CMO Survey Highlights and Insights Report 2017 from Deloitte, Duke University and the American Marketing Association found organisations spend, on average, 7.9% of their revenue on marketing and 11% of their total company budget. While according to the Gartner CMO Spend Survey 2017-2018, the number’s higher – organisations dedicate 11.3% of their overall revenue to marketing.

Understand buyer-behaviour trends – and make sure your spend mirrors them

Then you can justify exactly how you plan to spend your budget. Online is making its presence felt across every phase of the B2B buying journey – according to a study by Earnest and Imperial College London, it accounts for 49% and 58% respectively of the ‘research’ and ‘purchase’ stages.

No surprise, then, that we’re seeing an increase in digital marketing spend.

Check what you’re doing matters to people other than you

Do your metrics turn the heads of people outside of marketing? That stuff you’re tracking and reporting on – is it in sync with broader business goals and key performance indicators? Truth is, your board probably doesn’t care about the same things you do. So make sure your KPIs demonstrate your marketing is having an impact on the stuff they do care about.

Incorporate alternative measurement models

It may seem counter-intuitive, but it’s not all about directly attributing sales to your marketing activity. Assists matter too. If your content marketing strategy aligns with your customer journey, you can use your marketing automation platform to see how the buyer engaged with it in the lead-up to the deal.

Be proud of your results – you worked hard for them

Don’t hide your numbers away. Make a visually striking dashboard or scorecard that makes it really easy for your board to understand what you’ve achieved. And don’t forget to highlight where your marketing successes align with the wider business goals.

Use the lingo being used right now

More and more we’re seeing the marketing department being relabelled the ‘growth department’. Who knows, maybe next year we’ll be relabelled as a chief growth officer. Or head of growth.

But that’s OK, because marketers are good at growth. We grow brand engagement. We grow customer bases. We grow revenue.

So choose your words wisely because sometimes it pays to use the latest buzz word.

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Ruth Connor is head of marketing at Earnest

Sourced from THEDRUM

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Oath has studied the viewing habits of World Cup fans to deliver ad insight to its clients, and in doing so, it learned about brand recognition levels in the UK – and a staggeringly low purchase intent.

In February, 7,294 respondents from UK, France, Brazil, Denmark, Germany, Sweden, Italy and Spain gave their views on sponsors. For Coca-Cola retention levels were at 45%, at McDonalds it was 41%, Adidas (33%), Visa (31%) and Budweiser (27%).

Brazilians were found to be the most passionate fans, but they were also the most brand-friendly. 35% said they would be much more interested in using a brand that sponsors the World Cup tournament, in the UK, this figure slips to just 1%

Furthermore, one in four (26%) people in the UK said they would not support any other team in the football tournament should their team leave the contest. Stepping aside from the data, Scots have a habit of supporting any team playing England. It was the subject of a Paddy Power ad at Euro 2016.

The study also uncapped consumption habits. Three in four (75%) viewers will be watching at home on TV, as opposed to just 1% on mobile, However, nearly one in four (23%) will leverage smartphones as part of a multi-screen experience.

On the features fans expect, 33% wanted on-demand replays, 18% were keen on 360° virtual reality stadium tours, and 15% wanted to see tabletop AR football.

Stuart Flint, vice president EMEA at Oath, said: “Brands only have a small window where they can grab consumers’ attention while games are on, so they need to look beyond matches and engage fans seeking out supplementary information including stats, replays and interactive experiences.

“While some British fans will switch off from TV once their team is out of the running, they’re still likely to be keeping tabs on contextually relevant content throughout the competition.”

37% in the UK claimed they won’t be engaged in World Cup tournament until the first game kicks off.

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Sourced from THEDRUM

By George Fotiadis

We use Google products every day, may that be Google Maps, YouTube, Gmail, Android or simply Google Search. We have come to a point where it is actually really hard not to use at least one of these services even if we try and companies built to prove the opposite have failed miserably (RIP Cyanogen).

First question: where does the money come from?

But most of us have never actually paid for these services. How is this possible? Is it so easy for Google to create all of these things that they just give them for free? Of course not. It’s one of those cases that:

If you’re not paying for it, you’re not the customer; you are the product. — Andrew Lewis

So it’s not that you are not paying, it’s the way you’re paying. In Q4 2017 Google earned $31.91 billion, $27.27 of which are due to its ads business. That’s approximately 85.5% of all revenue. So the quick answer to our question is ads.

Next question: How?

Google’s ads business is divided into three main components: AdWords and AdSense, AdMob. AdWords is the software determining which ads will be presented in the Google webpage and AdSense publishes ads on other websites. For example if I own a cooking blog and I want to put some ads on it, I would just indicate the place where I want the ads to be and AdSense would do the rest. AdMob is the same as AdSense but for mobile applications.

AdWords

-Ok that’s nice but I still don’t understand what’s my role into all of this.

The keyword is personalised!

For simplicity we’ll examine AdWords which is also Google’s biggest stream of income. What the search engine does first (and updates daily) is a process called web-crawling which is nothing more than creating a map of the web and honestly, it’s relatively easy; it just takes a lot of computers! So when you’re searching for a cheap hotel in Zurich (spoiler alert there aren’t any) you don’t actually search the whole web, Google only shows you the content that has already indexed and thinks that it’s relevant to what you’re searching for.

-How do they know what’s relevant? And how do they select which results or ads to show higher than others?

Aha! That’s the hard part, the part where you contribute.

The algorithm that took over 5 years to develop

To predict what you are searching for they use a machine learning algorithm that analyses your input applying natural language processing to really “understand” what you mean. Of course this algorithm has to be trained and besides content collected from the websites themselves, your data is what it’s trained with. Same applies for the normal results ordering. A simple example is that when you search for something and instantly click on the second result it shows them that it might be more relevant to your search query and might need to show up higher in a future search.

Where it gets really juicy is when it comes to showing and sorting ads. See, it’s not like in the TV where the enterprises have to pay a huge amount for their ad to be shown to everyone even if the majority of whom might not be interested in what they are selling. What Google offers and what makes it stand out of the competition is the ability to show personalised ads only to those people who actually care. My grandma might see 10 ads about the cool new “revolutionary” iPhone and she’s still not going to buy it but if you show the same ad to someone who is in the market for a new phone then it’s obviously a lot more effective.

Bid it to win it!

To decide which ads to show higher than others, besides the degree of relativeness, an ad auction is performed every time you search for something. The auction procedure is based on the Vickrey auction and called generalised second-price auction. I won’t get into the specifics and the math behind this, I will only mention that it’s a single round auction, the highest bidder wins but pays the second highest bid and it’s proved that the dominant strategy in a Vickrey auction is to bid the true value of your product (compared with a normal auction which happens in multiple rounds and the bid is the smallest possible).

Let’s take an example for clarification. Assume that me, Bob and Alice are hotel owners and we want to put an ad on Google. Also assume that we all have the same ad quality (we’ll get into that in a bit). If the suggested bid by Google is $1 and that’s the price that Bob and Alice bid but I bid $2 then I win, my ad will be shown first but I will pay $1 because that’s the second highest bid.

-Ok but frankly it doesn’t seem so different from the TV. I mean you pay for your ad to be shown but you have no idea if the user will actually notice it.

That’s why Google charges per click, you pay nothing as long as nobody clicks on your ad. And that’s where ad quality comes in, a variable determined by the number of clicks; more clicks equals better quality. This value is pivotal to the order of ad appearance and usually Google demotes bids for poor quality ads.

But at the end of the day you might ask, do all these justify the amount of money Google earns? Let’s do some quick math. There are approximately 450.000 searches for “cheap hotels” per month in the US and the suggested bid is $3.8. If half of those searches end up with a click to your ad then that’s $855,000 per month. And that’s only for one ad. Quite profitable I would say.

Conclusion

So to sum up, Google’s main income comes from its ads business and that’s heavily relied to data collected from its users. AdWords places ads on Google’s webpage while AdSense and AdMob show ads in collaborating websites and mobile apps respectively. The charges applied are per click and to determine the order that the ads appear an auction is performed between advertisers and the ad quality is also taken into account. And that’s how Google earns money, as simple as that.


By George Fotiadis

I’m a Computer Science student at EPFL interested in various topics like machine learning, applied data analysis and artificial intelligence to name a few. To learn more about me you can visit my personal website at gfotiadis.com.

If you liked this post you can follow me on Medium to get more stuff like this and if you REALLY liked it you can share it and #spreadItLikeMalware.

Sourced from Hackernoon

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Coca-Cola’s latest experiment in opening short design briefs to the entire world illustrates its plans to no longer be seen as “a traditional advertiser” by appointing consumers – not agencies – as its co-creators.

The drinks giant’s head of digital, David Godsman, admitted at the Adobe Summit opening keynote that the digitally connected world is “somewhat unknown” to the brand. Nevertheless, 12 months ago it embarked on a five-year digital transformation programme, underscored by four key areas: operations, business, culture and experiences.

Surprisingly, Coca-Cola has filed its marketing and advertising operations into the latter category. Not only is Godsman asking his “traditional brand marketers to become experience makers”, but he’s earmarked the fans of Coca-Cola as vital to its content creation strategy.

“Digital allows us to create unifying experiences which – regardless of language or place in the world – helps to bring them together,” he said. “Digital enables them to participate actively with us and co-create the experiences we bring to market

“We don’t see a world where we will continue as a traditional advertiser in that sense.”

James Sommerville, Coca-Cola’s vice president of global design, introduced one of the first forays into this strategy of consumers-as-creators. Coke x Adobe x You, which quietly launched last October on social media, comprised a succinct brief open to the entire internet, which read: ‘Create a work of art celebrating Coca-Cola, sport, movement, strength, and unity using Adobe Creative Cloud tools’.

“We thought: ‘What would happen if you just gave the world’s designers three or four simple tools and a short brief – so short that you could tweet it?’,” explained Sommerville.

So far, the project has thrown up around 1,500 submissions, from trippy, fun animations to meticulous hand-drawn illustrations. All the designers were commissioned to feature the red Coca-Cola circle, while Adobe and Coca-Cola kept the Tokyo Olympics 2020 under wraps.

“If you scan these pages you’ll see the enthusiasm to work on our products and our brand,” said Sommerville, adding that the project “really is the start of our journey”.

The brand is arguably in need of a revived creative strategy. Diet Coke’s latest offerings have failed to capture the mass imagination that 1995’s ‘Diet Coke Break’ managed to, for instance, while ‘Because I Can’ was pretty much panned creatively.

It’s unlikely that Coca-Cola will eschew working with creative agencies for consumer creations altogether. Sommerville stressed that “we love our agencies partners, we need our agency partners”, but he also loves to “discover the hidden gems”. By that he means freelance artists such as Noma Bar, the graphic designers going viral, or “some guy working in Starbucks right now on a laptop”.

But when conglomerate does come looking for agencies in the future, it may start knocking on other doors. Sommerville’s design lab is currently experimenting with prototypes such as a fountain that dispenses mobile data in lieu of soft drinks – the kind of project that will certainly require the expertise of creative technologists, but perhaps not those of traditional creatives.

“I really want to invite the creative community to reimagine the whole experience,” said the Atlanta-based, Huddersfield-born designer. “Everyone in this room, everyone on this planet, has the right to work with Coca-Cola.”

How does he plan on keeping those divergent, global ideas tied to a common brand idea? By looking back on the vast history of Coca-Cola.

“We have a little phrase called Kiss the Past Hello,” he explained. “A lot of people talk about failing fast – for us this is the Coca-Cola way of saying a very similar thing. Our past is so important to us. It educates us. The good, the bad, what worked, what didn’t.

“Those stories are the same, but the context has changed. We are about technology, we are about transformation and we are about talent. But ultimately for us the experience starts at the product – it’s the texture, it’s the touch of the glass, it’s the temperature.”

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Sourced from THEDRUM

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An impressive 90% of marketers would be willing to lay down ‘slightly or ‘significantly’ more investment in programmatic advertising if they could be guaranteed better measurement statistics, according to a new study conducted by Infectious Media.

The difficulties inherent to the measurement problem were brought into sharp relief by the fact that 66% of respondents reported that the issue was either ‘extremely’ or ‘very’ challenging with most advertisers still reliant on clicks to verify the success of their campaigns.

This has fueled demands for a root and branch reform of measurement with 53% all advertisers quizzed now actively seeking alternative solutions.

Martin Kelly, Infectious Media chief executive and co-founder, commented: “It’s clear from our study that advertisers are waking up to the fact that the measurement model most have relied on for their programmatic campaigns is broken and digital ad spend is being held back as a result.

“Advertisers are looking to agencies to show greater leadership on how the system can be improved. Unfortunately, most have been content with the easy option of spending advertisers’ money on cheap inventory that meets a given target on clicks, regardless of the risk of fraud or the limited ROI this delivers.”

The issue of data accountability has been brought to the fore in recent months with the ISBAand IPA both seeking to galvanise advertisers into action. One potential solution is the adoption of cross-media measurement with 90% of publishers, brands and agencies in favour.

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Sourced from THEDRUM

Sourced from Scholarship Media

I’m a senior in college getting ready to graduate with a degree in English. I’m extremely lucky because I’ve already been offered a job as a junior copywriter at a digital ad agency in Boston. Truth be told, I landed the interview thanks to my uncle, who worked there for years. It’s very exciting.

That being said, I’m also nervous about it because most of my academic experience is in classical literature and creative fiction. In fact, almost all of my best writing is captured in short stories. My roommate, who interned at a PR agency, said that writing for the web is much different.

As I began to do research, I realized she was right. Worse is that writing for the web seems way more technical than I expected, especially what everyone calls “SEO.” It’s obviously too late to take classes for these things. I don’t necessarily know that I’ll be writing for the web but it makes sense to know, right? How should I get started?

You shouldn’t be too worried, since you’ve already been offered a job. The agency is likely to provide you with all the coaching you need, but that shouldn’t stop you from doing research. Taking the initiative will definitely pay off.

The first thing to do is understand the basic difference between copywriting and content writing. As the author explains, copywriting is at its core about selling an idea or an experience directly related to a branded product or service. Content writing is about informing, educating, and/or educating users. Both forms of writing strive to motivate users toward action and/or influence their thought process. Working at a digital ad agency is likely to present opportunities to develop both skills.

Something else to consider is the impact of collaborating with clients for the first time. Whereas client interaction isn’t always necessary with content writing, it’s a major aspect of successful copywriting. An author at Forbes shared five tips for managing client expectations, which are almost universally applicable. The key takeaway is to rely on effective communication. Fortunately, professional copywriting means you’ll have plenty of chances to refine your communication skills.

It’s a wise decision to learn more about search engine optimization (SEO) since it remains an extremely important investment for businesses. And despite what you might have assumed, it’s not all that difficult to understand. A contributing author at Clutch.co succinctly covers the basics in his beginner’s guide to SEO. Everything boils down to website structure and backlink profile. In other words, how a website is designed and organized is just as important as who reads it and decides to cite it as a reliable source. The two are intrinsically related.

You’d be hard-pressed to find a person or group that couldn’t benefit from positive SEO. Thanks to the digital age, businesses can now tap into global talent. For instance, a growing startup based in Singapore could leverage SEO in Brisbane to help them establish a digital presence for a recently launched production facility. It’s possible that you could experience something similar while working at your own digital agency.

The last thing to remember is not to underestimate the value of creative writing. While short stories might seem irrelevant, you’d be surprised how well the experience can translate. Your copywriting career will depend on sharing ideas and people crave a compelling narrative.

Sourced from Scholarship Media

 

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Quick! What’s the difference between a positioning statement and set of brand values?

Or a value proposition and a brand’s DNA?

What about a brand promise and a brand essence?

If you answered ‘er’ to any of the above, then you are not alone.

Week long workshops have been spent parsing out the distinctions between ‘DNA’ and ‘purpose’. Cut through the froth, however, and we are talking about positioning.

But whatever we call it, positioning is central to what marketers do. Yet, here’s a scary New Year’s thought: is it time to reposition positioning?

When Ries and Trout first proclaimed the arrival of positioning in the late 1960s and early 70s, simplicity was at the heart of their thinking. ‘Positioning compensates for our over-communicated society by using an oversimplified message to cut through the clutter and get into the mind.’

Positioning was a strategic exercise, informing everything from distribution, to product innovation, and marketing communications. By analyzing competition, consumer, and company in question, brands could clearly define themselves against rivals with a strong positioning. Ultimately it was about ‘where’ and ‘how’ a brand should ‘play’ against competition.

As a result, the primary goal of the advertising agency morphed from (tactical) creativity, for its own sake, into the (strategic) management of brands.

Yet, as the synonymic inflation around the word ‘positioning’ suggests, this has become an increasingly complex exercise, cast adrift from the original intent.

We now spend a great deal of time ruminating over the finer points of brand personalities, or carefully delving into semantic nuances. We build pyramids, diamonds, and peel back layers of brand onions (weeping, often, in the process), while flicking through thesauruses for synonyms of ‘inspirational’.

More worryingly, positioning is increasingly detached from its original strategic intent. It has become too concerned with marketing communications, and is often treated as a story which should be told (directly) to the consumer. This is a long way from what it should be. Moore and Helstein in a 2007 article on positioning tersely noted ‘a positioning statement is not an advertising strategy, a slogan, or a tagline. It is an internal document, and is often very dull and straightforward.’

The lack of strategic thought is also evident when it comes to understanding of the competition. Competitor analysis is all too often overlooked, and palmed off on someone more junior, with the results filed away and never used. This leads to the weird sense of déjà vu between a lot of brand executions, born, one suspects, from positionings that didn’t pay attention to, or distinguish themselves from, the competition.

All this distracts from an exercise that was originally intended to focus strategy. Positionings have become a pick-and-mix of Big Words that agencies often struggle to execute against.

And positioning faces an even bigger challenge. Jenni Romaniuk of the Ehrenberg-Bass Institute has pointed out that the way we think about positioning is back to front.

Unlike marketers, the brand is the last thing consumers think about.

For consumers, brands are not the fixed platonic ideals that brand onions suggest they are. Instead they are a mess of mental cues, recalled to solve certain problems throughout the day.

Romaniuk refers to these situations that induce brand recall as ‘category entry points’ (CEPs).

For example, you might feel hungry at lunchtime (CEP) and several brands will pop into your head to solve this problem.

You might need a mid-afternoon pick me up (CEP) and Starbucks, Coca-Cola, or the godawful stuff in the canteen might mentally appear.

CEPs can be linked to things like hunger, the time of day, a sporting event, or a type of weather. This makes sense because brand considerations are context specific, and different contexts – or CEPs – evoke different brand options. (If you are considering lunch you might not be considering Burger King. But, if it’s 3am, or the morning after the night before, it might be at the top of your mind.)

This is a big challenge to traditional positioning and the 3Cs that inform it.

After all the consumer (or at least consumer mindset) varies depending on the situation. The competition varies too. If you’re Coca-Cola you might be competing with a coffee mid-afternoon, and a beer at 6pm.

And the brand itself is perceived differently in each situation. It’s not, in other words a ‘fixed’ idea. (That’s why it makes little sense to ask consumers what situations come to mind for specific brands – the answer is it depends on the situation. We should instead be asking what brands come to mind for certain situations.)

In short, different CEPs should logically produce different positionings.

So how do we adapt?

For a start, it should prompt marketers to consider what CEPs they are currently linked to, and if they should expand this number. The most successful brands are linked to wide a range of different situations, and smart brands actively seek to expand them. A simple example of how this works is from McDonalds, which went from simply answering a ‘fast food’ situation, to also answering a quick and easy way to get breakfast and a decent coffee.

We should therefore not be afraid of embracing positioning(s) plural. This does not mean that every brand should document a bewildering array of every potential CEP, and position against each. Some CEPs are more common (and profitable) than others. CEPs also seem to have practical limits. Fizzy drinks or fast food chains might have quite a few, but realistically how many does toilet roll really have?

All this suggests that positioning should cease to be the distant, lofty, and totemic PowerPoint it often feels like today. It was, after all, originally intended as a battle plan, rather than a religious text. Positioning should once again act as a practical and powerful tool to help focus thinking, and compete with the competition across (a range of) different consumer cues.

That positioning often feels more like an exercise in semantic acrobatics or character creation suggests it’s long-overdue a repositioning.

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Sourced from THEDRUM

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Nationwide building society has rushed to defend a pair of singing sisters who star in its current advertising campaign after the duo were subjected to a tirade of abuse by disgruntled viewers – culminating in a series of death threats.

Nicola and Rose Dempsey, aka comedy duet Flo and Joan, sparked mixed emotions after harnessing their songwriting talents to pen a number of catchy verses encouraging viewers to sign up for financial products.

Rather than rush to sign up for a mortgage or ISA, however, many of those subjected to the ditties have instead chosen to pen derogatory messages online, detailing precisely what fates they would like to befall the pair.

Even Nationwide’s official YouTube account is littered with unflattering anonymous comments including “I will go out of my way and make sure never to use nationwide in my entire life. Because of this” and “I came here to dislike and complain, that’s how much this ad pisses me off”.

Responding to the unwanted attention, Nationwide’s chief marketing officer Sara Bennison confirmed that the bank had now called in the Metropolitan Police over the social media trolls, telling OK! Online: “Social media has provided a great instant barometer of reaction – good and bad. The huge amount of likes and shares have been great.

“But then there are others who have chosen to post the most vile, abusive and misogynistic comments about the duo. It is not just our Flo & Joan adverts that generate these comments, it is also our adverts that feature people of different colours, backgrounds and perceived sexuality, which attract the most criticism.

“That is why Nationwide is looking to work with other brands, industry bodies, such as ISBA, and the Met Police to look at the true scale of this worrying trend to spread hate from behind a keyboard and attempt to create a solution to tackle the issue.

“It’s one thing not to like an advert, another to threaten to kill the stars of it. Abuse is abuse and that’s never OK in our book.”

Nationwide’s reliance on artists saw it previously find its voice with poets.

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Sourced from THEDRUM

Online reputation management is very necessary all of a sudden.

By MediaStreet Staff Writers

Businesses say they plan to allocate more resources to their online reputations in response to the growing popularity of social media and online reviews.

According to a new survey from Clutch, 40% of businesses will increase their investment in online reputation management (ORM) this year.

All this is due to the growing power of social media and third-party reviews sites, which impact businesses’ control over their online reputation.

Clutch surveyed 224 digital marketers and found that more than half of businesses (54%) consider ORM “very necessary” for success. As a result, 34% said they allocated more resources to ORM in 2018, and an additional 43% said they plan to hire a professional public relations or ORM agency in 2018.

Businesses already invest a significant amount of time observing their online reputation, Clutch found. More than 40% of digital marketers (42%) monitor their companies’ brand online daily, while 21% monitor their online reputation hourly.

According to public relations experts, businesses frequently monitor how their brand is portrayed online because they know even one negative media mention can quickly damage the public’s perception of their company.

“When people search for brands online, they tend to search for stamps of credibility,” explained Simon Wadsworth, managing partner at Igniyte, an online reputation management agency in the UK. “If potential customers find anything negative, that could end up being a significant amount of leads the business won’t get from people who are put off from using the service.”

Social media also has shifted the ORM landscape because it gives consumers free-reign to share their opinions and experiences quickly and frequently: 46% of businesses look to social media most often to monitor their online reputation.

By using professional agencies that have expertise in online reputation management, businesses can minimise losing new customers who may be dissuaded from purchasing their product or service.

To read the complete report, click here.

 

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