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Corporate Pride strikes again.

One inevitability of Pride month is what’s (un)affectionately known as Corporate Pride – which, as the name suggests, involves all manner of brands paying lip service to the cause with rainbow logos and the like. One of the slightly more creative efforts this year came from Coca-Cola – but it appears to have backfired spectacularly.

The company’s new custom bottle creator lets users personalise a rainbow-coloured Coca-Cola bottle sticker by entering a word, name or phrase of their choice. But the list of banned phrases, as well as some that are allowed, has proven somewhat questionable. (Check out our best print ads for some bold advertising that actually works.)

Coca-Cola

Coca-Cola’s custom bottle creator (Image credit: Coca-Cola)

If the user attempts to create a bottle with one of Coca-Cola’s prohibited words or phrases, they’ll receive the message: “Oops! Looks like the name you requested is not an approved one. Names may not be approved if they’re potentially offensive to other people, trademarked, or celebrity names. We’ve worked hard to get this list right, but sometimes we mess up. If you think this is an error, please contact our Customer Care team. Otherwise, please try again, keep it fun and in the spirit of sharing!”

And, naturally, users have been testing the limits of what Coca-Cola considers “fun and in the spirit of sharing”. In one of many eyebrow-raising examples, ‘White Lives Matter’ = fine, whereas ‘Black Lives Matter’ = not fine.

“We’re continuously refining and improving our Share A Coke personalisation tool to ensure it is used only for its intended purpose,” a Coca-Cola spokesperson told CNN Business. “Actual bottles are not made with words that are inconsistent with the program’s intent. We have clarified in the tool’s preview mode that proposed language may require further review.”

While we appreciate the company’s desire to filter out offensive phrases, one can’t help but wonder whether Coca-Cola’s half-hearted censorship mechanism is actually better than no mechanism at all. Like McDonald’s tasteless coronavirus-themed logo, Coke has ended up, no matter how well-intentioned, with a bonafide marketing fail on its hands. Still, at least it’s in good company this year – who can forget Burger King’s abysmal attempt at humour on International Women’s Day a few months back?

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Sourced from CREATIVE BLOQ

By Amelia Torode,

Presenter Vanessa Feltz’s BBC Radio London researcher messaged me last week asking whether I’d be happy to give an industry insider response on-air to the news that, in an effort to curb childhood obesity, the British government had enacted a new watershed TV and online ban on high fat, sugar and salt (HFSS) food advertising.

I’d seen the official industry response, and it had made me uneasy.

The Advertising Association declared themselves to be “dismayed” by the news. The Food and Drink Federation said that they were “disappointed …the proposals would make it difficult to advertise many products that have been carefully reformulated or created in smaller packaging. … Many food and drink companies won’t be able to advertise new product innovations … and larger food-on-the-go, pub and restaurant chains may not be able to tell their customers about their menus.”

Elsewhere, the IAB wrote that the ban “will create untold damage to the advertising industry” and that banning ads online will achieve “next to nothing in terms of reversing children’s obesity rates.” The News Media Association declared the ban “draconian.”

I am aware that I am in a position of privilege in so much as I work as an independent strategy consultant, so I’m not beholden to a global agency network and can consequentially give my opinion and not have toe the party line. But there comes a point when we all have to be honest about what we’re hearing and feeling.

At a fundamental level, we have to make a choice: either we believe advertising works or we don’t.

The moral issue

If we think advertising does work, then we probably shouldn’t be getting to upset about a pre-9 p.m. junk food advertising ban aimed at children. If, however, we believe that advertising doesn’t work then we’re probably in the wrong business.

When I posted about the HFSS ban on Twitter, the strategy community seemed divided and conflicted. I was warned about culture wars, told that “no government should be allowed to tell me what I can eat or drink,” that obesity has nothing to do with advertising. I had Jeremy Bullmore, author and former chairman of JWT London, quoted at me as saying, “Advertising’s role is to provide the best advice to clients to meet their business objectives. It has no remit to take a stance on issues.”

Really? I felt so sure this quote was not something Bullmore would actually say. So I emailed him, and he said the quote is fake.

“I’m pretty sure I’ve never written anything along those lines. It’s meaningless anyway since a company’s known stance on issues can help or impede the meeting of its business objectives,” he responded.

I have also heard a lot of anger at the perceived hypocrisy of our industry. Anger at (unnamed) IPA Effectiveness winners declaring at an ISBA conference that HFSS advertising had no significant effect on consumption.

HFSS food pun intended, our industry wants to have our delicious cake and eat it.

During Cannes Lions, when our industry is heartily patting each other on the back for the brilliance of our social purpose advertising campaigns that have apparently changed hearts and minds around the world, it just seems funny how advertising doesn’t do anything when it comes to HFSS.

Thank you for smoking

There’s a brilliant dark comedy Thank You for Smoking in which Aaron Eckhart, the lobbyist for Big Tobacco, tries to remain a role model for his 12-year-old son while simultaneously doing his job standing up for the cigarette industry. Spoiler alert: He fails.

The language that our industry is using around HFSS and children seems to be remarkably similar to the language the self-titled MOD (Merchants of Death) Squad tobacco, firearms and alcohol lobbyists use in this damning satire. It got me thinking about whether we use the same language back in 2003 when cigarette advertisements were finally banned.

Trying to understand from a client that was grappling with the new implications and impact of the ban, I spoke to Ross Farquhar, CMO of cult mochi ice cream brand Little Moons.

Ross and the Little Moons team worry this ban is devastating. “For a company like McDonald’s, Dominos or Unilever, they can side-step the ban because they can still run brand adverting that doesn’t show product. Our brand isn’t that widely known yet so we can’t do that.”

One of the loopholes would be that a company like McDonalds, so long as they didn’t show hamburgers, would be fine. In fact, they can actually advertise chicken nuggets as those fall within the acceptable HFSS range.

Farquhar’s point was that for a company like Little Moons that has yet to break into the mass mainstream and doesn’t have the brand awareness has to talk about product, especially when it’s a Japanese product that is not very well known. Now they’ve lost that opportunity on television.

There are a number of other loopholes and exceptions. OOH advertising is still permitted; small- and mid-sized businesses with less than 250 employees will not be impacted by the ban. However, Little Moons produces all their ice cream in the U.K., so while they are a small company, their headcount takes them above the magical 249 number and they’re therefore applicable to the new ruling.

My overarching view remains the same. We have the most overweight children in all of Europe. It’s a health time bomb of epic proportions, and we need an honest approach to tackling it, of which advertising is a part. For our industry to deny that advertising can shape desire and prompt purchase is simply mealy-mouthed.

By Amelia Torode

Amelia Torode is a co-founder of The Fawnbrake Collective.

Sourced from ADWEEK

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The global pandemic has boosted consumer appetite for shoppable video and accelerated the move towards an on-demand economy.

At The Drum’s Digital Transformation Festival, during a fireside chat, Stuart Heffernan, head of e-commerce at Pernod Ricard, and Nicola Spooner, vice-president of strategy for Unruly, asserted that post-pandemic consumption habits were here to stay and would fuel a shoppable content boom.

On-demand e-commerce

“This past year has been revolutionary for e-commerce,” said Heffernan. “In the space of a year, on-demand retail and players have boomed globally.”

Uber’s acquisition of the drinks delivery platform Drizly, Pernod Ricard’s recent stake in on-demand grocery platform Glovo and the rise of delivery apps in mature e-commerce markets such as the UK all suggest this trend will continue.

Heffernan also remarked: “On-demand will stick around because people get hooked on convenience and are prepared to pay a premium for it. Uber Eats’ alcohol sales have increased significantly – that’s a premium price point for standard products because it is pure speed and convenience.”

Connected TV growth

The two also spoke about the rise of ‘hometainment’ and how it dovetailed with the rise in super-fast, on-demand e-commerce.

Spooner said: “Consumers are accessing more content in an on-demand capacity than ever before. We don’t predict that slowing because now that people have trialled that kind of method of indulging in content, they’re not going to want to let it go.”

She added that while she could foresee a consolidation in subscription services, there would always be a thirst for on-demand quality content. “For brands, that brings an exciting opportunity because we’re delivering a lot of creative shoppable solutions.”

According to a recent study from Unruly, 72% of UK advertisers say connected TV (CTV) is a key part of their video advertising strategy. There is also a huge amount of optimism about the medium’s future, with all media agencies and 77% of brands saying they plan to invest more in CTV during the next 12 months.

The pandemic-induced boom of branded ‘hometainment’ experiences, such as showing how to make cocktails or advice on pairing food and wine, has readied consumers for shoppable content from brands.

Heffernan argued that this would continue to be the case even after lockdowns ends.

“Even if the pandemic has completely gone away by January next year, it will still be cold and wet and I will still be sitting at home. So, if a Jameson brand ambassador reaches me through the right media targeting, then yes, I will engage because it’s something to do on a Wednesday night.”

Unruly’s Spooner said that making branded content shoppable and serviceable by the on-demand apps consumers have grown to depend on during lockdown will induce impulse purchasing.

According to Unruly and research consultancy MTM, 90% of digital advertisers plan to increase their CTV spend in 2021.

“Shoppable content really opens the doors to impulse purchasing,” said Spooner. “If you are watching content around cooking and there is the contextual placement for Jameson’s cocktails or Viejo wines, I – as a consumer – could be inspired and take action immediately.”

From awareness to conversion

Both panellists agreed that TV is no longer about brand-building but about conversion, adding that advertisers should now augment campaigns with shoppable elements.

“There are plenty of ways to add shoppable elements to campaigns,” said Spooner. “It could be a light touch brand bar over the top of an amazing TV creative or an on-screen QR code so that consumers can scan it with their phone, which is location-enabled, and have that experience in their front room in moments.”

Ultimately, shoppable video will allow marketers to build video into every stage of their marketing plan rather than simply viewing it as an awareness boosting tool.

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Sourced from The Drum

Sourced from BBC

Facebook has begun displaying ads in its Oculus virtual reality headsets, despite the founder of the platform saying it would never do so.

In what the social network described as an experiment, ads will begin to appear in a game called Balston with other developers rolling out similar ads.

It said it would listen to feedback before launching virtual reality ads more widely.

It also revealed it is testing new ad formats “that are unique to VR”.

In 2017, shortly after Facebook bought Oculus, creator Palmer Luckey told the Next Web: “We are not going to track you, flash ads at you, or do anything invasive.”

But in a blog on Oculus’s website, the firm said: “We’re exploring new ways for developers to generate revenue – this is a key part of ensuring we’re creating a self-sustaining platform that can support a variety of business models that unlock new types of content and audiences.”

Users will be able to hide specific ads or those from a certain advertiser and Facebook promised that its privacy policy would remain the same.

“Facebook will get new information, like whether you interacted with an ad, and if so, how… for example, if you clicked on the ad for more information or if you hid the ad.”

It encourages customers to share their feedback via the Oculus support page.

Barrier to adoption?

Last month the firm began testing ads in the Oculus mobile app.

Leo Gebbie, an analyst with CCS Insight, said the move was unsurprising.

“Ultimately Facebook is built on advertising revenue and if there was any expectation that it wouldn’t build it out into virtual reality, then that is a little naive.”

Oculus Quest 2 headsets start at £299, and in the US are also offered for $299, and that price means it is being sold at “incredibly low or even loss-leading margins,” said Mr Gebbie.

This could mean Facebook becomes the dominant player, as others are unable to compete.

“The long-term goal is for Oculus to be a platform for virtual reality and augmented reality, with Facebook keen to get as many people as possible using it,” he said.

But, he noted, there would probably be a backlash against ads on the headset.

“Facebook doesn’t have the best track record on privacy and there is a concern that it will continue to push the boundaries and creep towards something that is invasive.”

Piers Harding-Rolls, research director of games at Ampere Analysis, said VR offered big opportunities for the tech firms.

“If people are spending more time using this technology, those that dominate the online advertising opportunity – including Facebook and Google – want to be well-placed to take advantage of any shift in consumer habits, so that they can follow the audience with their advertising networks.”

But they needed to be careful about balancing advertising with a good user experience, he warned.

“While there is nothing exceptional about having advertising in games, the intimate and immersive nature of VR means that the consumer experience is likely to feel a lot different and that might represent a barrier to adoption.”

Sourced from BBC

It’s a common sight: Ads from that time you Googled flights to Cancún, or visited Nike to look for new running shoes, following you around the Internet.

Much of that tracking is made possible by cookies — little bits of code that jump off websites and lodge themselves in your browser, allowing new sites you visit to see where you’ve been before. Facebook and Google, the two most profitable advertising companies in history, use cookies to show ads across the Web based on info gathered on their own sites and social media networks.

But that’s all changing. Google has vowed to block cookies completely on its Chrome browser, which is used by around 70 percent of the world’s desktop computer owners, by the beginning of 2022. The decision, announced last year, sent shock waves through the advertising world, which has maintained revenue from tracking is necessary to fund a largely free Web.

Google says it has solutions to allow advertisers to keep showing relevant ads, but in privacy-protecting ways. Taken together, the company’s proposals are meant to let Web publishers, e-commerce companies and advertising agencies continue using targeted ads to make money, while assuring regular Internet users their data isn’t being stockpiled by an ever-growing list of companies and websites.

But privacy activists have already started poking holes in Google’s ideas.

And it may not matter. Advertising technology companies such as the Trade Desk have already taken the matter into their own hands, banding together to create new tracking tools that use email addresses. Other major companies have shown signs of pushing back against Google’s proposals, such as Amazon, which is currently blocking Chrome from collecting data on which users go to its websites. (Amazon chief executive Jeff Bezos owns The Washington Post.)

Meanwhile, politicians and antitrust investigators in multiple countries have raised alarms that Google’s move could hurt competitors and further cement its power. And for regular Internet users, this largely behind-the-scenes change could have major implications for how private companies hoover up our data and make decisions about what we see online.

Here’s what you need to know.

How did we get here?

Cookies were written into early browsers to cut down on some of the inconveniences of surfing the Web. They allowed passwords to auto-fill, or websites to remember payment information so users didn’t have to type theirs in every time they came back. They also created a trail of breadcrumbs that the burgeoning online ad industry eagerly ate up, helping free websites make money.

But as the technology advanced, social media took off and consumers’ lives were lived increasingly online, it got creepy. Privacy advocates have always criticized the model, and more and more regular people have become aware of the issue, some expressing their displeasure by downloading ad blockers.

Google isn’t the first to make this change. Apple in 2017 started limiting and eventually blocking third-party cookies completely from its Safari browser. Mozilla’s Firefox followed soon after. But those two browsers make up less than 20 percent of the market, according to research firm eMarketer.

Despite Google’s own reliance on advertising and tracking for roughly $180 billion a year in revenue, chief executive Sundar Pichai admitted during a 2019 congressional hearing that people don’t like to feel they’re being tracked around the Internet. And in January 2020, Google said it too would block third-party cookies on Chrome within the next two years.

The changes come as politicians in the United States and elsewhere step up their attempts to regulate privacy. The European Union’s General Data Protection Regulation has forced companies to ask permission before tracking people online since 2018. In 2020, America’s most populous state instituted the California Consumer Privacy Act, which gives California residents the right to ask companies to delete whatever data has been gathered on them. As is the case with other consumer-focused regulation, the California law has essentially become the default nationwide.

Feature Image Credit: (Washington Post illustration; iStock)

By Gerrit De Vynck

Sourced from The Washington Post

Sourced from Forbes

TikTok continues to surge in popularity. As of January of 2021, the platform had more than 680 million users worldwide. With so many users on the short-form video app, it’s quickly become a relevant channel for advertising. However, it can be a challenge for brands to create a short video ad without it coming across as run-of-the-mill, highly produced commercial.

If you’re considering using TikTok in your marketing efforts, it’s important to understand how to effectively reach your target audience on the platform. Below, 13 members of Forbes Agency Council detail the best ways to grab consumers’ attention and gain their trust by leveraging TikTok to market your business.

1. Entertain Before You Try To Sell

Leverage TikTok by making authentic content that aims to entertain first and sell second, if at all. As the adage goes, “If you’re going to crash a party, bring champagne.” To stretch that analogy a bit, modern audiences are smart enough to know if you’ve brought champagne or a cheap bottle of Cava from the shop down the road. – Dan Cullen-Shute, Creature

2. Leverage Influencers And Branded Hashtag Challenges

One way to engage audiences on TikTok in a contextually relevant manner is to work with TikTok influencers to promote your brand or product. The platform has a creator’s marketplace to help you search for influencers that best fit your brand, audience and desired outcome. Another option is the branded hashtag challenge ad format, which encourages user-generated content about your product or brand. – Greg Garunov, Sightly

3. Drive Emotion And Connection

TikTok is built off of driving emotion and connection with the viewer. Marketers can easily leverage authentic influencer content from this platform that could become explosive on other platforms at a lower cost, yet still has a higher impact than even a Super Bowl commercial, as we’ve seen with the viral TikTok leggings, for example. – Logan Rae, Argon Agency

4. Share Practical Advice

Short-form video has been around for decades in the form of video news releases or news segments, with little care paid to it. Instead of trying to sound smart, share practical advice that helps another person level up personally, professionally or emotionally. Raw, unedited advice will captivate an audience that’s willing to listen. – Brad Ginsburg, Global Communication Works (GCW)

5. Give Them A Reason To Watch

Authenticity is key for any platform. TikTok is still purely entertainment; the ad world hasn’t bombarded it—yet. That means two things: The ad value is under-priced, and the audience is growing rapidly. If your marketing doesn’t appear entertaining, they will flick right past you. Remember the give/get model here for a path to success: Give them a reason to watch, and you’ll get an impression or an action. – Rob Fallon, Bluewater

6. Follow The Trends

Part of the magic of TikTok is how the content is created. It’s meant to be fun, not perfect. Brands need to understand that a perfectly produced ad will most likely stand out on TikTok, and not in a good way. Brands need to create content that is native in format and follows the trends that other users are following. That will get you into a conversation, rather than ruining the conversation. – Brian Meert, AdvertiseMint

7. Be Timely And Relevant

TikTok trends live and die overnight; what’s popular today may not be tomorrow. The smartest brands on the platform have mastered creating timely and relevant content by jumping on trends within hours of them becoming popular. The great thing about TikTok is that content doesn’t have to be polished or professionally shot. Many brands create content on their mobile devices, with minimal editing. – Charlie Grinnell, RightMetric

8. Find Inspiration In User-Produced Content

It is crucial for brands to engage with the audience in a way that’s endemic to the platform and not like standard ads or social channels. Get inspired by user-produced content (i.e., paid talent), and don’t worry about trying to piggyback on the latest thing. Be creative and design your own tropes that are fun, engaging and relevant to the brand while encouraging the audience to do the same. – Jason Parkin, Compose[d]

9. Lean Into The Creator Community

TikTok can be a powerful channel for creative storytelling and marketing opportunities. Brands should lean into the creator community and co-create content that provides value in terms of entertainment and/or education. Each brand is unique; some brands might create behind-the-scenes content or a sneak peek at a new product, while others provide entertainment or education. – Paula Bruno, Intuition Media Group d/b/a Blissful Media Group

10. Tell A Story

Take your lead from viral TikTok creators and use the power of a story. By using text on top of a video, you won’t come across as overly polished, but you will catch their eye, even if the sound is off. Start with a short bit of text that establishes a problem plaguing your ideal customer, ideally a fear or concern. Then drop in text to help solve their problem step by step. – Samantha Reynolds, ECHO Storytelling Agency

11. Mirror Your Audience’s Interests

Don’t be something you are not, regardless of medium. Ask yourself, “Why is my audience on TikTok?” What are they looking for on the app? Create content to mirror their interests. If they are there to be entertained, post something entertaining. If they are there to learn, offer educational tips or tricks on how to use your product or service. A good rule of thumb is to make it 80% information and 20% ad. – Sara Steever, Paulsen

12. Try Using The Duet Function

TikTok has a more creator-driven aesthetic versus the “produced” approach we see on other channels. To be successful, brands have to adapt their content to trends and do creative, in-app editing instead of pushing out canned content. TikTok users can easily sniff out inauthenticity. Also, using the TikTok Duet function and filters provides a more genuine way to connect with the platform’s dialled-in audience. – Mike Popowski, Dagger

13. Get Your Team Involved

Stick to using in-app features, and commit your team to only filming with their mobile devices. Encourage your team to find content that they can do a TikTok Duet with, or trending content they can do their own versions of, such as challenges or dances. Even supplying your team with swag they can wear is enough to feature your brand without looking as if you’re trying too hard. – Bernard May, National Positions

Sourced from Forbes

By Benton Crane,

It drives sales, profits and helps businesses thrive.

Analysts are forecasting the advertising industry is surging back this year.

Brian Wieser from GroupM predicts “In 2021, the American advertising industry is poised to regain all that it lost in 2020 and more.”

As a owner and entrepreneur, that can be discouraging news. In a world flooded with text messages, news, advertisements and constant connection to social media apps, you already know how hard it is to cut through all the noise and connect with both your customers and potential customers.

It’s been well established that advertising — and the world in which we consume advertising — has changed in the last several decades. In the 1970s, the average person saw between 500 and 1,600 ads per day. Today, the average person is estimated to see between 6,000 and 10,000 ads every day.

Social media platforms have played a large role in that increase. Users upload at least 300 hours of video to every minute. processes 40,000 searches every second. Users post 46,740 new photos to every minute, and 300 million photos to every day.

So as a business owner, how do you cut through that noise? The answer lies in your ability to tell a story worth repeating.

Storybrand-style marketing has almost become a cliché in the last 10 years. And like all good clichés, it’s a cliché for a reason. It’s formulaic because it works. Great storytelling drives , profits and helps businesses thrive.

But it’s one thing to tell a story. It’s another to tell a story that stands out enough to trigger a response from your audience, to get them to engage and share your content.

Telling a good story is actually very nuanced. Think about how many stories you hear on a daily basis. From the stories your toddlers or teens tell you to the news you hear on your drive to work to the stories you read online, you can only remember so many. Only a few stick in your mind for very long. And only the very best end up being good enough to repeat to your friends or co-workers.

Good stories — the best stories — move people so much they want to engage with them and tell them to others.

You can break down these effective, noise-cutting storytelling into four main categories:

Controversial stories

This is the type of story or content that gets shared because it riles people up. The problem with controversy is that people know half of their audience will like the story, while the other half might be put off by it, so people think twice about sharing it.

Fear-inducing stories

Fear can also be a powerful motivator in stories, because it strikes at people’s tribal instincts to act in their best interest. They might share the content you create out of concern for others’ best interests, but it also might reveal vulnerability they aren’t ready to share.

Endearing stories

These perform well because they are heart-warming. People want to feel good, and stories that endear your brand to them give them positive feelings.

Humorous stories

People choose to share content because they want to add value to their network, and humour always does that. It’s universally about putting a smile on people’s faces. can take advantage of this by providing humour that adds value to their customers — and potential customers — by incorporating humour into their stories and ads.

But how can you tell if your stories are actually effective and are resonating with your target audience?

The most basic baseline for judging effective advertising is conversions. This is especially crucial when your business is first starting out, because if your product or service isn’t selling you won’t stay alive for long.

But even after making it past the early stages of growth, many businesses and marketers fail to move past the conversion-only metric. The problem is conversion-driven storytelling can make you appear like a used car salesman, doing whatever it takes to get someone’s attention and make a quick sale. This strategy can yield short-term gains but jeopardize the longevity of your business.

You’ll need more if you truly want to cut through the noise, drive sales and engender lasting customer loyalty.

For long-term success, advertisers need to expand their metrics beyond just conversion results to examine how people are engaging with and sharing their stories. These longevity-minded marketers also take into consideration reactions, comments and shares.

You might protest that these are just vanity metrics. And they can be. But they’re also more than that. They help you know whether you’re effectively communicating with your potential customers and creating lifelong, loyal customers.

These so-called vanity metrics are the digital equivalent of a face-to-face conversation with your customer, allowing you to see if your message is resonating and making an emotional connection.

So rather than dismissing responses and engagement as mere window dressing, realize that they can hold the key to creating an emotional connection with your customers. A connection that will establish your customers as loyal brand advocates, giving you the opportunity to bring longevity and security to your business.

By Benton Crane,

Sourced from Entrepreneur Europe

By

Agency mergers are a fact of life in the ad industry, but a badly managed process can wreck what was originally great about a business. We gather advice and wisdom from agency chiefs on navigating the M&A maze.

A smart merger or acquisition can take a business to the next level. But after the champagne’s been corked and the confetti swept aside, the hard work isn’t over.

To find out how best to dodge the pitfalls and potholes of the M&A road, we picked the brains of agency bosses at recently acquired or merged businesses.

For Lee Beattie, managing partner and chief executive officer of John Doe Group, a merger was the best way forward for her business, Glasgow-based Wire, to grow. ”We’d reached a point in Scotland where we had won all the best agency awards and we had what we considered the best clients.”

While she and business partner Pam Scobbie had seen success pitching to bigger clients down south, the lack of a London outpost was holding them back. ”It was really bloody difficult,” she says.

So, building on an existing relationship with fellow PR firm John Doe, they embarked on a merger to bring the two firms together. ”We wanted to be up for certain brands… and [John Doe managing director Magin Trewhella] wanted to grow the agency. It felt like a jigsaw puzzle coming together,” she says.

In an ideal world, Beattie says she and her three now-co-owners would have taken a week to sit down and ”bolt through all this stuff.” Instead, the process took a year, longer than is typical – there has been a pandemic to deal with, after all. The newly merged John Doe Group is now pitching for work with a combined headcount of 40, and just announced its first win as a combined enterprise with the Highland Spring account.

Nicolas Roope, co-founder of Poke, recalls its 2013 acquisition, and later merger with two other agencies, by Publicis. He and his partners wanted to continue to grow their business, but market conditions were hardening.

”We thrived in our first 10 years because the incumbents didn’t have a clue,” he says. ”But we got to the end of that period and thought that there probably wasn’t long left for agencies like us as independents. Scale was going to be a problem if we didn’t act.”

Poke shopped around for buyers for about a year before choosing the French conglomerate. ”A lot of the value we’d created at Poke was intangible. We wanted to find somewhere where they appreciated what we’d created. Arthur Sadoun [now chief executive of Publicis Groupe] was driving our acquisition… he was very ambitious, he understood the challenges their network faced – and he understood where we were coming from, the value we were bringing to the table.”

After the original sale in 2013, the company was bedded into the wider network over five years; Roope departed in 2018, after organising its merger as Publicis. Poke. ”It was a parting gift – figuring out how to strategically position this merger enterprise and create something new. But once that merger was completed… I didn’t really have a natural position to occupy, so that was the moment to step out.”

Without the hurdle of an acquisition to deal with, mergers between network agencies can generally proceed quicker. So when WPP decided to merge digital shop VML and storied ad agency Y&R in 2018, it moved fast. Planning for the consolidation began just two months before the merger was unveiled, according to global chief executive officer Jon Cook.

”We moved from conception to launch very quickly,” he tells The Drum. ”We announced we were going to merge at the start of the next year… which bought us some time. While everyone knows it happening, you still have a moment to breathe and put the infrastructure in place. It was a good lesson.”

Team journey

Mergers can rearrange the tectonic plates of a business, leading staff to fear that career trajectories are askew. Moving at speed meant Cook’s team could quickly address one of the biggest areas of concern: assuring the staff of both agencies that they still had a berth.

Transparency and timing are key, he says. ”I learned to be very transparent about what I knew. If you can identify why you’re doing this, what the new brand will be and why it will have value – and communicate that with complete confidence while at the same time being very clear about what you don’t yet know – people are generally going to understand.”

According to Stephen Maher, chair and chief executive officer of the freshly merged customer experience agency MBAstack (formed after MSQ acquired MBA), it’s important to ”reassure everyone that there aren’t going to be redundancies.”

”I just think you have to be upfront. We said that, fundamentally, nothing’s changing. It’ll be the same people, the same relationships and the same culture. There will be refinements, but there will also be more resources because we’ll have more people.”

Beattie advises: ”You have to talk to the team at the right time, when you’re certain that it is definitely going to happen and you can actually answer their questions. Everyone’s going be thinking: what does this mean for me? If you can’t answer that, you probably shouldn’t be having the conversation.”

Managing internal announcements is a little easier when staff number in the dozens. For VMLY&R, hundreds of agency leaders needed to be brought into the fold in advance. ”You need to make a judgement on how many people you need, and can trust, to get the right amount of work done before an announcement. If you have too few you’ll be ill-prepared when you announce. And if you have too many, you’ll run the risk of communications being leaked,” Cook warns.

As the agencies integrated together, Cook says that particular attention was given to managing staff concerns. ”I was sure people would see the value and the strategy in it. But I was nervous – would everybody be able to find their place in that new company? My ultimate fear was that someone would feel smaller as the company got bigger.

”We put a lot of work into making sure that no person felt smaller. We have a lot of people so I can’t say without exception, but I feel we’ve done a good job of making it so you get bigger as we get bigger,” he explains.

Still, some departures are to be expected. Between location changes and the transition to a larger organization, ”you’re going to lose a bunch of people,” says Roope.

He recalls that persuading Poke’s ”extraordinary, eccentric” team was tough. ”One of the biggest challenges of the whole thing is taking the team on the journey. You have to accept you’re moving into a new reality – you can’t take everything that you’ve built. For more seasoned staff who’ve seen these things before, they’ll know what’s coming. But it’s particularly acute people for who’ve been with you for a long time.

”There’s a lot of fear about the consequences of being acquired – did that mean we were going to be like every other Publicis agency?”

Despite occurring during a pandemic-fuelled recession, both the MBAstack and John Doe Group mergers were completed without redundancies. VMLY&R lost about 1% of its global headcount in the wake of the move, though Cook states this was due to ”natural efficiencies” rather than a concerted cost-cutting effort, and that its staff numbers have since grown anew.

Client confidence

Just as important is communicating a new consolidation to clients. A spokesperson for AKQA, which merged with Grey last year, tells The Drum: ”The key focus areas are our clients and employees. This is also in line with key decisions around communications and operations.

”Clients were consulted early in the process to gain their feedback and highlight the additional benefits of the businesses working more closely together.”

For Beattie, ”the important thing is: what does it mean for them? What are the benefits each client is going to get from the merger? Or is absolutely nothing going to change?”

Cook explains: ”It’s critical to reach a certain amount of your client base before it happens, so they have some trust, a heads-up and a feeling of ownership about the decision.”

He emphasizes the need ”to communicate clearly what you’re doing and why you’re doing it… to communicate that nothing of the goodness of your relationship will change or go away. And to communicate the new value of the bigger company.”

”Once those assurances are in place,” says Cook, ”client partners become start to become very interested in what new capability you have that can help them move their brand forward.”

Name games

When it comes to unveiling the new combined agency, language is important. A consolidated agency’s name can broadcast continuity – as in the case of double-barrelled monikers such as Wunderman Thompson – or a new start, as in the case of Superunion, which was formed from five older branding shops.

While VMLY&R’s acronym doesn’t quite roll off the tongue, Cook argues it was important to keep the identities of its constituent parts intact. ”We have a lot of letters. I’m the first one to make fun of our long name… but in exchange, you’re not losing the heritage of either of these two brands.

”There’s no way we wanted any part of the company to feel marginalized or lesser. It was too bad we didn’t merge with a company with some vowels, because we could have made a word out of it.”

Similarly at MBAstack, Maher says the name was settled after a collective decision to retain both brands. ”We felt it was the right thing for the market. And it sounds a bit better, with MBA first and Stack second.”

For Dentsu agency iProspect, which recently relaunched after absorbing Vizeum, a new handle wasn’t deemed necessary. Amanda Morrissey, global president of iProspect, explains: ”The reason for this is two-fold… firstly, and most crucially, we wanted to spend more of our time and energy on building solutions for our clients than building our own agency brand.

”Secondly, the iProspect brand name already has a huge global footprint and is universally synonymous with digital excellence that has performance at the centre. We therefore felt that keeping the name was the right thing to do, as so much of the brand notoriety is already in place.”

Culture clashes

Definitions of a successful merger also differ. For AKQA, it’s simple enough: ”Success of the collaboration is measured by the recognized increased opportunity for both our clients and employees.” Elsewhere, success isn’t so closely tied to balance sheets. Much of the post-merger work focuses on making sure the working cultures of each agency still exist in a meaningful way.

Maher admits it’s ”a journey not a destination,” and says MBAstack will likely take six months to knit together. The business has a new website in the works, and both the Stack and MBA teams will soon be moving to MSQ’s new offices in Covent Garden when lockdown subsides. ”It’s a work in progress. We’re going to keep evolving,” he says.

Roope says that the benefits of Poke’s sale to Publicis only were only illuminated when its team reluctantly moved from its Shoreditch base to bigger premises across London. ”It was only really when we stepped into the building that network started to pay… because we were much more integrated,” he says.

True success came, he says, when Poke began to influence the rest of Publicis’ operations. ”We brought fresh thinking, a different perspective when at the time it was a monoculture that was absolutely above-the-line. We weren’t the only catalyst in that, but it reinvigorated the London side of the network,” he says.

While merging two global giants together is a complex endeavour, Cook says he was confident of success just two months in. ”We gathered 200 of our top leaders to [VML headquarters] Kansas City, from all over the world. And you could just feel a sense of unity, a sense of pride. We knew this was going to work.” By the time the team touched down at Cannes the following summer, things were coming together and business had picked up, with a 14% increase in billings in the UK.

”Walking into Cannes, we already felt we had a swagger. We were getting recognition for the work for our clients that this new company had done… that was a good message that we’re doing what a great agency is supposed to do, and that’s great work.”

A month after from her business’ rebirth as John Doe Group, Beattie doesn’t yet have the privilege of hindsight. The teams of each agency were already well acquainted, with the merger built upon an existing relationship; the two businesses already shared client work. Having avoided a direct culture clash, she’s confident the consolidation has already begun to yield results and achieve their major goal – puncturing the London bubble.

”It’s definitely already working. We’ve just won our first new account. We’ve done more pitching in the last couple of months than I did in over the whole of last year.”

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Sourced from The Drum

By Jon Williams

The Liberty Guild’s chief executive responds to Campaign’s analysis on the health of creative agencies.

I read Campaign‘s article about the fallout from WPP’s capital markets day. I’m not sure it’s entirely fair of WPP’s chief executive, Mark Read, to lay the “didn’t reinvent quickly enough” thing at the feet of the creative shops.

It’s clearly true, but as I remember it (as an EMEA chief creative officer of a WPP network), the barrier to reinvention was also the fact that WPP would never sign off any margin relief to do anything. That and the institutional immune system in agencies that tries to attack anything acting differently or entrepreneurially. Anyway. Financial performance has been in decline for years. On that, we agree.

Further down the piece, someone was talking about a supposed “shortage of talent” to capitalise on growth opportunities. We can argue the toss about whether or not there is a shortage in agencies. But in the market there is absolutely no shortage of talent. It’s just that agencies are looking in the wrong place. And if they should happen to find it, they are just not set up to work with the growing global pool of A-list “independent” creatives, strategists, technologists and entrepreneurs that are the key to growth.

There is an incredibly talented crew out there for whom the agency Kool-Aid has curdled. All ages, all genders, all over the world, don’t understand why they need to work all the hours god sends and have zero work/life balance when there is an alternative. There is an exodus to the portfolio career. Some have private clients, some work with a number of agencies, some work directly with brands, some are entrepreneurs, some have personal projects. They flourish.

On the whole, they haven’t been forced to work from the kitchen table by a global pandemic: they made the explicit choice to jump off the burning platform and find sanctuary.

You can find them in the north of Scotland, on the west coast of France, a beach in Indonesia, Crouch End, Goa, Wherever. Technology allows the creative diaspora to go wherever it damn well wants to, in a way that couldn’t happen just five years ago. Technology has changed the game for good. And the pandemic has only expedited this process.

But here’s the rub. As I was leaving my big old network job, I excitedly explained my start-up idea to a European chief creative officer. A mate. Someone I rated.

He raised his eyebrows and said: “Wow, so you’re going to do that with freelancers?” He sort of spat that last word and at the same time left it hanging in the air. That’s the issue there. What is it with the pejorative use of that word?

In a more chivalrous time, when knights wore shining armour and rode white horses, the Free Lances were the elite. A warrior class for hire. Tied to no one. Not your poor plodding foot soldier. Not pawns on the battlefield for a top-down feudal system (bit too obvious for a network analogy?) – but the best and most skilful crew money could buy.

By Jon Williams

Jon Williams is chief executive of The Liberty Guild and the former chief creative officer at Grey Group EMEA.

Sourced from Campaign

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Anyone working within programmatic advertising is likely to hear the phrase ‘curated marketplace’ a lot in 2021 – but what does ‘curation’ really mean in this context and why should it be a key priority for media buyers over the next 12 months?

Michael Simpkins, Marketplace Commercial Lead at Xandr explains, as the programmatic landscape has become increasingly cluttered and complex over the past decade, many people now assume that media buyers operating their own ‘curated marketplace’ are simply looking to work with fewer partners in the advertising supply chain. However, this is only the first step and barely scratches the surface of how curation can help improve the effectiveness of a media strategy.

Going back to basics

With the rapid growth of the programmatic industry, the supply chain became fragmented, resulting in a loss of control and transparency for both buyers and sellers. Buyers are also facing increasing pressure to justify return on ad spend, but siloed spending, rigid metrics and a convoluted supply chain make it hard to prove marketing impact on business outcomes.

As a collective, the industry has matured in the past few years to take a step back and simplify the complex landscape. Direct relationships between buyers and sellers are being rebuilt and big steps are being taken to improve supply chain transparency. Marketers, now more understanding of the supply chain, are seeking to regain control not just over their ad spend but over their campaign performance too and, with the deprecation of the third-party cookie, these objectives take on even greater importance. On the other hand, with the proliferation of header bidding, publishers want to make sure their most important media buyers are still able to reach and value their inventory effectively. It is important for companies to deliver unique value across the advertising ecosystem from consumers, buyers and sellers. One of the ways we at Xandr are able to do this is through our curation offering, which brings buyers and sellers together on our platform, offering buyers a simplified and dedicated workflow to easily build out their own curated marketplaces from the supply available on our premium advertising marketplace.

Regaining control of the supply chain

By building out a curated marketplace, buyers gain control within the SSP (sell-side platform) and can apply macro business rules to supply before it hits the DSP (demand-side platform) for targeting, significantly reducing risk in a diverse supply chain.

Through curation, buyers are able to maximise their investment by having full control over supply decisioning and ensuring all media is run across brand safe environments and eliminating non-essential pass throughs in the supply chain. Costs can also be reduced as buyers streamline supply sources, campaign workflows and operational complexity while also having the ability to negotiate price and priority within publishers. Buyers are able to receive regular reports on supply-side fees and auction dynamics, strengthening cross-industry relationships and supporting our industry’s quest for supply chain transparency.

As collaboration becomes even more important in 2021 and beyond, curating a marketplace on a single platform can reduce the risk even further. With fewer partners you’re able to work together on market and regulatory changes, niche audience targets and specific campaign needs together.

What is curation?

Today, we are used to a two-party transaction with a buyer using a DSP to purchase inventory and a seller using an SSP to surface their inventory to the buy side. Curation moves us to a three-party transaction where we now have a curator that sits between the SSP and DSP and works alongside the publishers to decide what inventory is allowed into their marketplace and then packages and merchandises that inventory via a curated multi-seller private marketplace (PMP) to make it available to the buy side to trade in their DSP.

Creating your own curated marketplace does not have to be a huge undertaking – in fact, it involves just four key steps:

  • Identify what you want to get out of the curated marketplace. Is it fee and auction dynamic transparency? More control on your supply paths? Performance gains? Setting a clear objective and strategy for the curated marketplace will make the process clearer for all parties involved.
  • Establish who you want to partner with to build out the curated marketplace. Pick a technology partner that has the supply coverage, tools, expertise and service models to implement a successful curated marketplace.
  • Work with your technology partner to understand what supply to bring into your marketplace and how to work with the publishers to do so. A curated marketplace should bring buyers and publishers closer together, not act as a blocker.
  • Optimise your curated marketplace. These marketplaces shouldn’t be static and should constantly be optimised based on performance, market changes and pricing.

As consumers continue to access media content across numerous devices, their attention becomes increasingly difficult to capture and hold. To catch their audience wherever they are viewing content means marketers are having to reconsider their strategies for planning, buying and measuring advertisers. We have to introduce an option for those who want to buy advertising and access to consumers on all devices and formats in one place, and that option is curation.

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Sourced from The Drum