We recently commissioned several of our very talented writers to concept some headlines for a organization that has dedicated itself to combating distracted driving. Here are just a few. If you have a favorite, please comment and let us know.
By Abbey Klaassen, AdAge
Today marks a quarter century of one of marketing’s biggest blunders — and the sixth biggest moment in 75 years of advertising, according to Ad Age: New Coke.
Still smarting from the 1975 “Pepsi Challenge” taste-test battle, Coca-Cola Co. launches “Project Kansas,” a top-secret mission to reformulate Coke. President-Chief Operating Officer Robert Goizueta appoints Coca-Cola USA head Brian Dyson, who taps marketing chief Sergio Zyman to head the endeavor. Mr. Zyman and company test a new, sweeter version of the flagship cola with 190,000 nationwide taste tests at a cost of $4 million.
At a bottlers’ meeting in Atlanta back on April 22, 1985, Mr. Zyman announced from the stage that Coke was changing its taste. The next day Coca-Cola revealed the new, sweeter taste to financial analysts and the media. But word of the new product finally leaks out and Pepsi dispatches its own press assault on the same day claiming victory. “The other guy blinked,” Pepsi says in ads saying Coke reformulated its brand to taste “more like” Pepsi.
The press hammers at Mr. Goizueta, now chairman-CEO, to explain the difference and what will happen to the old Coke, which 39% of consumers still favor. When Mr. Goizueta admits it will do away with the old formula, consumers revolt. Dazed by the backlash, management on July 11, 1985, just 79 days later, agrees to bring back the original formula, renaming it Coca-Cola Classic.
Some in the industry counter-intuitively suggested the blunder was actually good for the beverage giant — that its fans’ reactions to the idea of their beloved Coke going away, along with the reintroduction of the cola as Coca-Cola Classic, have created a fantastic new marketing strategy. But we think the lesson is pretty clear: Don’t tinker with success. Or at least think very, very carefully before you do.
By Ken Bruno
After a long winter and a grim recession luxury-faucet maker Brizo wants to give consumers “a license to dream.” Online videos and print ads created by Young & Laramore for Brizo’s high-end, touch-sensitive Talo, Venuto and Virage faucets feature vivid colors that morph into butterflies, flowers, mermaids and fish.
New ad campaigns suggest marketers are eager to shake off the gloom of tough economic times–and they hope consumers will do the same. While some economists aren’t sure the tough times are history, advertisers don’t seem to care. Companies are rolling out carefree ads that use humor, colorful images and upbeat language to get consumers to lighten up–and open up their wallets.
“What you make people feel is as important as what you make,” goes the voice-over in a commercial from BMW of North America’s “Story of Joy” ad campaign, which includes print ads featuring happy-looking adults, kids and dogs with headlines that lead off with “Joy is …” The campaign was created by GSD&M Idea City.
Procter & Gamble even seems to thumb its nose at money-pinching buyers of personal care products in ads for Old Spice. In TV spots, Isaiah Mustafa taunts women with recession-induced goodie withdrawal by offering “two tickets to that thing you love,” before the tickets turn into diamonds. Spots featuring Mustafa and his treats have racked up more than 8 million views since they broke in February.
Fun and games? Those are reappearing in ads. Interpublic agency Deutsch L.A.’s playful campaign for Volkswagen “Punch Dub,” invites consumers to play an updated version of the game “Punch Buggy,” in which the first person to spot a VW slugs his or her friend on the arm. Stevie Wonder and 30 Rock’s Tracy Morgan even get in on the game in ads.
Microsoft even promotes the idea of carefree travel in ads for the launch of its new mobile phone brand, Kin. In “The Journey,” by AgencyTwoFifteen, Rosa Salazar, a lollipop-loving Brooklyn comedian, hits the road to meet as many of her 824 social networking friends as possible.
Consumers and marketers were in the dumps last year when total U.S. advertising expenditures fell 12.3% in 2009 to $125.3 billion, compared with 2008, says ad tracker Kantar Media in New York but some agency executives say marketers are willing to spend again.
“There is a market turn toward the positive,” says Deutsch N.Y. Chief Creative Officer Greg DiNoto. “That’s a smart marketing strategy for any brand when you’re emerging from a recession.” Brands need to be associated with winning.”
A few advertisers hope upbeat taglines will do the trick. Amway’s latest campaign, one with an estimated $25 million behind it, features the tagline “The Power of Positivity.” Ads, created by Omnicom’s Element 79, feature friendly farmers and helpful neighbors and suggest that Amway is a company doing its part by creating jobs for those affected by the recession.
By Erik Sass
A new report from the Cinema Advertising Council and NewMediaMetrics details consumers’ emotional attachment to different media, as well as brands appearing in various media contexts. The findings suggest that cinema advertising can compete effectively with television for video advertising dollars.
Movies fared better than most other media in terms of emotional attachment, reflecting their immersive quality, and the fact that consumers will pay a fair amount for such an experience. CAC found that 44.5% of consumers that buy health and beauty products reported emotional attachment to movies, versus 29.6% for magazines, 21.2% for radio and 20.6% for magazines. Similarly, 43.9% of survey respondents who buy consumer packaged-goods and foods said they were emotionally attached to movies, compared to 28.9% for TV, 20.5% for magazines and 19.2% for magazines.
The data, summarized in CAC and NewMediaMetrics’ “360 Cross Platform Study,” were gathered in a survey of more than 3,000 people ages 13-54, categorized by the type of products they consume. It asked them to rate emotional attachment to media and brands in media on an 11-point scale, with 9-10 considered “emotionally attached.” The survey compared consumer ratings for TV, magazines, newspapers, Internet, cinema and a variety of other out-of-home channels.
Across all consumer categories, the overall attachment rating of 41.5% for movies ranked ahead of televised sports and major entertainment events, such as the Super Bowl (39.7%), Summer Olympics (26.3%), World Series (22.8%) and Oscars (16.1%).
Last year, the CAC released a study from Integrated Media Measurement showing that cinema advertising plus TV more than doubled consumer conversion rates when compared with TV alone.
The digital out-of-home industry in general has been working to bolster its measurement capabilities with new, more precise metrics in the hope of winning spending usually allocated to cable and broadcast.
So, if these stats are correct, one could assume that as much as 17% of the population that has not adopted broadband would do so if they understood the nuts and bolts of how it works?
By Susannah Fox
A new report released today by John B. Horrigan, formerly of Pew Internet and now at the Federal Communications Commission, finds that 78% of adults in the U.S. are Internet users and 65% of adults have home broadband access.
Adults who do not have broadband at home fall into four categories:
Digitally Distant: 10% of the general population. Median age is 63. Half say that the Internet is not relevant to their lives or they lack the digital literacy to adopt broadband.
Digital Hopefuls: 8% of the general population. Low-income, heavily Hispanic and African American. Likely to say they want to go online, but lack the resources.
Digitally Uncomfortable: 7% of the general population. Likely to own a computer, but lack skills and interest in taking advantage of all the Internet has to offer.
Near Converts: 10% of the general population. Median age is 45. Cost is the biggest barrier to having broadband at home.
During my 50th birthday tour of the South, my wife and I had the chance to visit the Woodford Reserve Distillery in Versailles, KY. Right smack dab in the Bluegrass Region, Woodford has managed to ally itself with Churchill Downs and is the creator of the Official Spirit for the Kentucky Derby.
Woodford Reserve, the official spirit of Kentucky Derby, has launched the new limited-edition collectible bottle to commemorate this year’s race. The label of the new bottle features the painting by Louisville-based artist Jeaneen Barnhart. Those who buy it get a chance to win a trip to the Derby.
The artist depicted the picture, which renders the vibrancy and intensity of Kentucky Derby racehorses. At the neck of the bottle they placed Barnhart signature at neck of the bottle. The limited edition 1 liter bottle is available since March at the price of $42.99.
The commemorative bottle allows to enter Woodford Reserve’s Kentucky Derby Sweepstakes and become a VIP guest of the 2011 Kentucky Derby.