October, 2016

Donald Trump's Personal Money Probably Won't Help Political Ad Spending

Is Donald Trump's cash flow too little, too late? GIF: Yuliya Kim; Source: Getty Images

The final week of Donald Trump's campaign for president has turned into a question of "will he? or won't he?" like some kind of sitcom romance.

Last week, CNN reported that Trump only donated $31,000 of his own money to his campaign in early October. (By comparison, rival Hillary Clinton shelled out $50,000 of her own cash.) To show them who's boss, he wired $10 million to his campaign that very same day to buy more ad time.

But is it too little too late?

Local markets have been consistently reporting that Trump isn't spending what they expected him to, even when compared to previous election cycles. Perhaps that's because he's waiting until the last minute to book ad time, or that his campaign has been more focused on damage control, or maybe it's the free media he garners from his rallies, which just got a shot in the arm from the FBI.

Whatever the reasons, according to Strata, a Comcast-owned ad-tech software firm that processes $50 billion in ad transactions a year, many political agencies don't believe he'll ramp up the ad spend.

"In their view, it should have happened already," said Judd Rubin, vp of Strata. "They're left wondering: 'What is he waiting for?'"

Rubin said that in past elections, campaigns would balance free media from the news cycle, with paid advertising. Not so in 2016. Not for Trump, anyway.

A majority of ad agencies surveyed by Strata—86 percent—think pro-Trump groups will have a hard time finding inventory for local TV ads in swing states. These ad agencies represent more than 30 percent of total national political ad spend.

"Historically, the last month and week of the election almost always sees a significant spike in ad spend," said Rubin. In 2012, he said, the Pittsburgh market saw a 348 percent increase in October from September. In Cleveland that same year, spending shot up 159 percent.

Based on market projections, this year doesn't even come close.

"Our estimates show a more modest 23 percent increase in Cleveland in October from September, and a 43 percent increase in Pittsburgh," said Rubin.

"This isn't 2012, and it's not Romney versus Obama."



Source: Advertising

How Data Can Fuel Improved Relationships Between Marketers and Agencies

How essential is data in any marketer's relationship with an agency? According to a new study from the Association of National Advertisers, data plays a key part of that relationship, with 80 percent of marketers indicating they use data "often or always" when handling partnerships with agencies.

The ANA conducted its latest survey, "Using Data to Manage Agency Relationships: What's Important to Marketers," with help from Decideware. Polling 92 client-side marketers, the survey found that 82 percent of marketers said data improved the overall client/agency relationship, while 90 perfect felt it improved their agency's efficiencies.

"Data helps build better relationships between the client and agency, helping both parties focus on outcomes. And at a time where there are transparency issues in the industry, the use of data enhances trust," ANA Group evp Bill Duggan said in a statement.

One area where data is most useful for marketers is managing media and budgets, but is typically least useful on the creative and production side.

With these findings, the ANA created a set of implications or guidelines for using data that marketers and agencies should think about in the future. When it comes to media, data is key, especially now that transparency is a major issue for clients. Based on the findings, the ANA suggests that advertisers "assume greater internal stewardship of their media investments," and that they "set up metrics to track performance."

When it comes to creative, the ANA suggests that clients should be paying more attention to how data can help track "the number of rounds of revision that work undergoes prior to final approval, the average length of time that each approval step takes and even 'soft' metrics like the quality of the brief." The impact of that data may allow the client to potentially reduce agency fees and speed up work flow.

Finally, the survey shows that 78 percent of respondents work at companies that use data to support their relationships with agencies and of that 78 percent, 90 percent find it to be beneficial.

Source: Advertising

Ad of the Day: Happy Halloween! Here Are Some Very Creepy Ads for Mandarin Oranges

Wonderful Halos seedless mandarin oranges, or a couple of bad seeds. Which would you choose?

Those are your options in one of four oddball ads dropping today from Wonderful's in-house team and Hungry Man's Wayne McClammy (the director who turned Geico's trash-rummaging raccoons into stars).

"He's one of the few comedic directors who also has an awe-inspiring sense of cinematic storytelling," Wonderful Agency president Michael Perdigao tells Adweek. 

McClammy deftly walks the line between farcical and fearful throughout the campaign, which urges kids and their parents to make wise snacking choices. Take, for example, these two sinister sisters and their malevolent mansion full of freaky figurines:

So, which twin is the evil one? Looks like both! So … goodbye, dollies!

Actually, those aren't twins. Just one actress and a bit of high-tech hocus-pocus.

"We auditioned hundreds of sets of twins, and ultimately we decided on the young girl featured in the spot who actually isn't a twin," Perdigao says. "During her audition, she displayed the right kind of tone we needed for that part, so we used the magic of Hollywood to create her twin."

As for the 250 dolls on set, McClammy's assistant spent weeks procuring them from eBay, Craigslist, swap meets, thrift stores and antique shops. "At one point, there was a creepy clown doll in the background," Perdigao recalls, "but it didn't make the cut."

In the next ad, a wacky witch tries to cast a tempting spell with a tart-tongued apple:

"Our 'Apples and Oranges' set was initially destroyed and production was shut down for a few weeks because of fires in the Riverside, Calif., area in August," Perdigao says. "When production was back up, we went back to the same area because the look of the forest destroyed by the fire was the exact feeling and vibe we wanted to capture in the spot."

Meanwhile, pint-sized construction-site trespassers get their comeuppance in this spot:

Way to go, gents. Enjoy the view from juvy!

Finally, a story set under the big top. Whatever you do, don't look down:

What, a circus without Wonderful's Ernie the Elephant? Perhaps the precocious pachyderm was at the concession stand procuring some pistachios.

"We drew our inspiration from the classic fairy-tale structure, where heroes are tempted by evil but then are guided by their pure values and intelligence to make the right decisions," Perdigao says.

Ultimately, he adds, the goal was to create work that would "educate consumers about our product and cause the viewer to do a double-take about what he or she has just seen and heard."

Client: Wonderful Halos

Agency: Wonderful Agency
Mike Perdigao – President
Steve Krauss – Chief Creative Officer
Darren Moran – Executive Creative Director
Jennifer Young– Creative Director
Alan Snider  – ACD/Copywriter
Colin Jahn – Sr. Art Director
Alex Harman – Art Director
Anne Kurtzman – Head of Broadcast Production/Producer
Matthew Conrad – Producer 

Production Company: Hungry Man
Wayne McClammy – Director
Mino Jarjoura – Executive Producer
Dan Duffy Executive Producer/Director of Sales
Dave Bernstein – Producer
Rodney Anderson – Production Supervisor

Editorial: Rock Paper Scissors
Christjan Jordan – Editor –
Pieter Viljoen – Asst. Editor
Helena Lee – Executive Producer
Dani DuHadway – Producer

MPC – Visual Effects
Paul O'Shea – Creative Director/VFX Supervisor
Karen Anderson – Executive Producer
Jamie Loudon – Sr. Producer
Ryan McDougal – CG Supervisor
Benji Davidson – VFX supervisor

Music/Sound Design
Beacon Street Music
Composers – Andrew Feltenstein, John Nau
Executive Producer – Adrea Lavezzoli
Associate Producer – Lindsey Lerman 

Source: Advertising

Monique Luiz, Star of LBJ's 'Daisy,' Returns in Hillary Clinton Ad About Nuclear Weapons

Fifty-two years after she appeared, as a 3-year-old, in the most famous political campaign commercial ever made, Monique Luiz is back—and the subject once again is nuclear weapons.

Luiz was the star of 1964's "Daisy" ad for Lyndon B. Johnson, in which she was seen picking the petals off a daisy as an ominous countdown was heard. The spot ended with a nuclear explosion, implying that Barry Goldwater was too dangerous to be president.

Created by Doyle Dane Bernbach and media consultant Tony Schwartz, it was credited with helping LBJ crush Goldwater at the polls.

Now, Luiz is back in the new Hillary Clinton ad below, which has a similar mission—characterizing Donald Trump as too dangerous, even reckless, for the presidency.

"This was me in 1964," Luiz says over footage of the classic spot. "The fear of nuclear war that we had as children, I never thought our children would ever have to deal with that again. And to see that coming forward in this election is really scary." 

This isn't the first flashback to 1964 in this election. Last winter, another old LBJ ad went viral online—"Confessions of a Republican," which featured an actor expressing the conflicted feelings that many Republicans had at the time with the ultra-conservative GOP candidate Goldwater.

Trump campaign spokesman Jason Miller told CNN on Monday morning that the new Clinton spot with Luiz was a "sad and a desperate attempt" to distract voters from Democratic candidate's latest trouble with the FBI investigating her use of a private email server while secretary of state. 

Source: Advertising

Conan O'Brien's New App Is a Pokemon Go-Style Game for Fans

Conan O'Brien's newest play for branded content is a mobile game that's subtly an ad for AT&T.

Today, Turner-owned TBS is launching the Catch Coco app that fans can use to follow along with the late-night host's trip to New York where he's filming the show at the famed Apollo Theater this week. Dan Riess, evp of content partnerships for Turner Ignite, said the game is "kind of like Pokemon Go for Conan."

The location-based app lets people near 15 famous locations in New York—including the Empire State Building, the Brooklyn Bridge and Yankee Stadium—unlock content. To tie into AT&T's sponsorship, one of the locations is the telecom company's store in midtown Manhattan at 57th Street and Eighth Avenue.

Once someone approaches a location, the app shows an image of O'Brien eating one of 15 different deli sandwiches, and his characters have names to match, like Tuna Melt Conan. To "catch" the character, users have to throw items like O'Brien's famous Eisenhower mug at it—Pokemon Go style.

There's also a way for people who aren't in New York to play. Using push notifications, the app unlocks one character per day that people can collect. The app also includes a sweepstakes in which fans can win merchandise tickets to shows.

O'Brien teased the integration last week and will talk about it more during Tuesday's show. There's also a digital hub on O'Brien's website,, with links to download the app and social posts on Facebook, Twitter, YouTube and Instagram.

"Generally with technology, [Conan] takes a goof on it," Reiss said. "We've gotten into a really great rhythm with Conan and his team and us working together with AT&T and coming up with all kinds of new ideas. It runs the gamut, but there's a really good example of the message that they're trying to get across, which is the possibility of technology, the network and fun. And what Conan wants to get across because he's been a digital trailblazer."

Source: Advertising

Amid Disappointing Sales, Bud Light Calls for an Early End to Its Rogen-Schumer Campaign

"The Bud Light Party" has ended a little earlier than expected.

AB InBev wrapped up its Wieden + Kennedy campaign starring Amy Schumer and Seth Rogen a few weeks ahead of schedule. The news comes on the heels of the company cutting its revenue forecast for the year in response to a disappointing third quarter that saw declines in Bud Light sales. 

Instead, the brand will turn its attention to the Bud Light X Lady Gaga Dive Bar Tour and its NFL-focused marketing efforts.

"We recently wrapped the Bud Light Party campaign, [which was always intended to end in the fall], to transition to Bud Light's NFL programming, supported by strong creative execution and significantly increased coverage of our team cans across the U.S.," said Bud Light senior director of marketing communications Lisa Weser. 

In January, the brand pitched the campaign as a political parody—which makes the timing of its conclusion somewhat surprising as the election is still more than a week away. The last ad in "The Bud Light Party" series appears to have been August's gender-identity-focused "Labels," which arrived over a month before the first presidential debate between Hillary Clinton and Donald Trump.

"Despite continued positive signs in brand health evolution, driven by millennials and Hispanics, 3Q was the softest performance of Bud Light for the year from a volume and share perspective," Weser added. "The Bud Light Party campaign helped us improve these brand attributes, but it did not translate to improved volume and share performance. While we are clearly not satisfied with Bud Light's performance, we are already leveraging what we've learned to develop and execute new work."

More recently, W+K launched "This Is Your Can's Year," promoting Bud Light's cans with NFL team logos for the new football season. The brand is now expanding on the popularity of its NFL team branding effort with new team can coolies, promoted in a 15-second spot called "Rival Cans," which aired during a recent Chargers-Raiders game. Team-specific spots promoting the team can coolies will air during broadcasts in different markets, and remaining media leading up to the Super Bowl is expected to focus on football.

"For Q4 and 2017, we are working closely with our creative agency, Wieden + Kennedy, to prepare for the next phase of our campaign for the Super Bowl and beyond," Weser said. "We will also put more focus on sports, where we have had considerable success in the past."

Source: Advertising

What Vine Stars Are Saying About the Short-Form Video Platform Shutting Down

No longer can we, as a society, "do it for the Vine."

On Thursday, Twitter announced it would soon be "discontinuing" the mobile app for Vine. Vine provided a wealth of hilarious six-second loops, often involving sports or highlighting political protests in a time before we all had livestreaming capabilities in our pockets.

But all that's over now.

And that's leaving thousands of highly creative digital influencers without an outlet.

"The creators who will be most damaged by this move are those who were too late to push off-platform," said Taylor Nikolai, creator and owner of the @FunnyVines Twitter account and CEO of Viral Spark, a social media consulting company.

Nikolai said @FunnyVines helped propel stars like Logan Paul and Jerome Jarr to internet fame by posting their Vines early on.

"Viners who failed to cross-pollinate, and instead put all their eggs in one basket, will feel the biggest impact," said Nikolai.

Vines themselves grew beyond the platform. Oftentimes, their popularity would grow on Twitter and spawn other memes and trends, according to Nikolai.

Logan Paul, in a interview with CNBC, also indicated creators who got their start on Vine had grown beyond the platform.

"All the Vine creators, we knew our home, the place we started on was slowly reaching a plateau," he said. "I felt like it was sort of inevitable at a certain point." 

"I believe Twitter will fully integrate Vine-making resources into Twitter," said Nikolai. "It's not so much the platform [Vine] that got traction, but the content type. Six-second looping videos allotted the ability to generate bite-sized content that could easily be accessed and shared."

Collab, a digital talent network and entertainment studio, helps creators monetize their videos and overall product. Their roster of talent has amassed millions of followers across many platforms, but Vine was especially represented.

"We're grateful for the opportunities that Vine has provided for Collab and our creators," the company said in a statement, "and have always been amazed by the talent and creativity on the platform."

For people who were starting to grow on Vine, the hope is they can build that kind of following elsewhere.

"Collab's mission remains to provide resources and opportunities to help creators make a living, doing what they love to do," the company also said.

"Vine shutting down is a huge detriment to social media," said Nikolai. "That being said, it was inevitable, and many have seen this coming for a long time."

Source: Advertising

Jim Beam Is Giving Away 10,000 Uber Rides in Chicago Tonight for the World Series

If you happen to be a baseball fan in Chicago this weekend without a car, good news: Uber is paying for your ride.

The ride-sharing app will start covering 10,000 rides during the seventh inning of tonight's World Series game between the Chicago Cubs and Cleveland Indians. This weekend's game is also the third game of the Fall Classic and the Cubs' first World Series game in Wrigley Field since 1945.

Here's how it works: Uber uses a phone's location to determine if the user is in Chicago. Once folks open the app, a pop-up message on the screen will appear with a promo code that they can enter when booking a ride. Uber's promotion will cover up to $20 off a ride.

It's not the first time that brands have worked with Uber to offer free rides. Alcohol brands Ciroc vodka and Johnnie Walker have run similar campaigns in recent years that give consumers a safe ride home from events. And in March, Buffalo Wild Wings offered $10 free rides to restaurants during college basketball's March Madness and whiskey maker Johnnie Walker ran a similar campaign.

In a statement, Jim Beam's master distiller and brand ambassador said, "We take care of family and with a historic moment like this, we want to be sure that Chicago sports fans get home safely."

Source: Advertising

Why Marketers Must Move Beyond 'Branded Content' and Create Entertainment

As audiences migrate to commercial-free streaming platforms, more and more brands are looking to engage consumers through entertaining original programming. And the entertainment world has caught on to that reality.

Rupert Maconick

Hollywood is responsible for today's best adverts and promotional films, not advertisers. People are sometimes shocked by this idea, but it's absolutely true. The Lego Movie is a cinematic advertisement for Legos. The upcoming film, Assassin's Creed, is a $200 million promotion for the popular video game series.

Of course, different types of brands have different options available to them. But no matter the budget, level of brand awareness or consumer appeal, almost any brand can entertain through one of three primary approaches.

Build a story universe around a product 
There is a small percentage of brands that can be described as sexy—luxury car companies, fine watchmakers, high-end liquors and other aspirational goods.

These types of brands could greatly benefit from creating original films and television shows around their products. This is the model that Marvel has used to incredible effect. Each Marvel film is a cinematic advertisement for the Marvel product universe, which includes toys, games, clothing and rides. Marvel films are such great selling tools because they are extremely entertaining.

High-end brands looking to capitalize on the allure of their products need to be willing to create innovative story worlds that consumers want to inhabit. There's no reason The Night Manager couldn't have been developed and produced by an outerwear company. Or Stranger Things by Levi's.

Unfortunately, what often happens is that a brand decides too late that it would like to be associated with a particular entertainment franchise, and as a result, it ends up paying much more in high-cost endorsements than it would have if it had engaged a studio or production company earlier in the process.

Start a conversation around a product, service or set of values
Most brands don't fall into the small percentage of aspirational goods. For these companies, one option is to create a conversation around a particular topic, or to create an association with a particular set of values. This is actually an old model, dating back to the advent of television. It's also what Mutual of Omaha did with Wild Kingdom—a family values company supporting a family values show.

The impact of this approach can be huge. Recently, we collaborated with Pereira & O'Dell and NetScout to create a documentary film. NetScout is a business-to-business network solutions company, and it wanted to start a global conversation about the internet and internet security.

With the wrong approach, this project could have been quite dull.

To reach and engage broad audience, we needed to find a way to make the film entertaining. We needed a point of view able to bring the subject to life. We asked Werner Herzog, a man so disinterested in technology he doesn't even carry a cell phone, if he would be interested in directing. Werner was immediately intrigued.

The finished film, Lo and Behold: Reveries of the Connected World, takes viewers on an unforgettable journey from the birth of cyberspace to the internet's current place in virtually every aspect of our lives. The film premiered at the Sundance Film Festival, where it was purchased by Magnolia Pictures for theatrical distribution. We attribute the film's success to one obvious fact—it is wildly entertaining.

Align your brand with a force for good 
There are some brands that aren't the most attractive to consumers—cleaning products, hygiene products, etc. Brands like these can create entertaining programming by aligning themselves with a particular cause.

A recent Brookings report found roughly 90 percent of millennials want to support brands that do good. Brookings also reported that 89 percent of all American consumers said they would consider switching brands to one associated with a good cause if price and quality were equal.

Rather than creating commercials that interrupt entertainment, these brands could benefit from documentary and scripted collaborations in support of socially relevant causes.

Many filmmakers have created their own charities and are invested in creating powerful entertainment that promotes them. Paul Haggis, for example, is the founder of Artists for Peace and Justice, a nonprofit that supports communities in Haiti through programs in education, healthcare and dignity through the arts. A cinematic documentary or a fictional series that supports a nonprofit like APJ is an excellent option for everyday brands.

The advertising world is transforming, but we are not without a North Star. Blockbuster films and streaming platforms like Netflix are captivating global audiences with entertaining programming. It's time for us in the advertising industry to recognize we can no longer find success by interrupting consumers with brand-driven messages. We must become a part of the original film, TV and online programming that audiences want to watch. 

Rupert Maconick is the founder of Saville Productions (@savilleprod), a production company specializing in branded entertainment. He also serves as a juror for the Adweek ARC Awards, the first awards program devoted to honoring the best in branded storytelling. The deadline to submit entries is Nov. 7. 

Source: Advertising

Duracell Picks Wieden + Kennedy as Its New Creative Agency of Record

Duracell, the maker of North America's top-selling batteries, has chosen Wieden + Kennedy New York as its creative agency of record after a review.

W+K will develop integrated marketing initiatives across the Duracell family of products including digital, social, TV, experiential and design work. Its first such efforts will debut in early 2017.

"At Duracell, we strive to make world-class advertising and we are looking forward to partnering with WKNY," said Duracell's vp of marketing, Ramon Velutini, in a statement. "They have a proven track record of fueling iconic brands and we are excited to see what we can to together."

Duracell's last review came in 2014, when MDC Partners' Anomaly beat out the New York offices of Grey, mcgarrybowen and incumbent Saatchi & Saatchi to win the business.

After that decision, Duracell split from parent company P&G, which agreed to sell to Warren Buffett's Berkshire Hathaway. (Buffett is a longtime investor in P&G.) Anomaly CEO Carl Johnson later told The Drum that its relationship with Duracell would not be affected by the news, and the agency continued to produce work such as this ad starring Mad Men's John Slattery, which debuted in the spring.

Earlier this month, however, Anomaly announced it would not be participating in the latest review—which began several months after Berkshire Hathaway completed its acquisition of Duracell. Most of the client's top executives left during the acquisition process, and Velutini joined Duracell from P&G in 2015 before being promoted to vp of marketing earlier this month.

"Duracell is a great American brand. They make a trusted product that's part of people's everyday lives, and they have a real appetite for breakthrough work that will resonate in culture," said W+K New York executive creative director Karl Lieberman, who will be leading the account. "All of this adds up to an ideal partner for us. We're looking forward to helping to build the brand and sell some batteries."

Various market research firms show that Duracell is the top-selling alkaline battery brand in the U.S., with chief competitor Energizer in second place.

According to the latest numbers from Kantar Media, Duracell spent just over $30 million on paid media in the U.S. in 2015 and $11 million during the first half of 2016. The latter is an increase over the brand's spend for the previous year, though Adweek reported in 2014 that "the brand's annual media spending hovers around $50 million."

Source: Advertising