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Deadwater: the Museum of Failed Products displays a collection of brands which have failed to launch

ManvsMachine has created the identity for Channel 4’s new channel 4seven

20 July 2012VOLUME #33 ISSUE #15Cover: courtesy of Kelly K Joneswww.kellykristinjones.comKelly K Jones is a Chicagoan photographer who provided images for this issue’s feature on The Museum of Failed Products in Ann Arbor, Michigan.

26 05 LeaderThe Drum’s opinion editor Cameron Clarke discusses the apathy surrounding the London Olympics.

06 AgendaSome of the latest insights and analysis into the media and marketing industries.

12 Pitch newsA round-up of accounts under review and recent account activity, including the NSPCC’s advertising account.

13 People on the moveThe latest appointment news, including Mecca Bingo’s hiring of James Condon as brand marketing director.

14 Simplicity of thoughtThe Drum catches up with the ‘quiet man of advertising’, M&C Saatchi’s Jeremy Sinclair, to talk about the brutal simplicity of thought.

17 The WorksA round-up of some of the best new creative campaigns, including m-four’s design work for the invitations to the opening of the National Football Museum.

22 The silent salesmanSteve Osborne of Osborne Pike explores how digital technology is shaking up packaging design.

25 Becoming a socialeaderThe Drum presents an extract from Jay Oatway’s Mastering Story, Community and Infl uence, which explores the use of social media to become a ‘socialeader’.

COVER STORY

26 Failure to launchWhen brands fail to succeed, where do they go to die? The Museum of Failed Products serves as a graveyard to failed ideas from throughout the twentieth century.

30 Last WordTim Downs, director, Aberfi eld Communications, takes the last word this issue.

28 Directory 31 Jobs

SPECIAL SUPPLEMENT

Paper & PrintThis issue of the magazine comes with a special paper and print review, published on a different stock. The review showcases opinions and insights on the paper and print industries: from the dominance of digital to the resurgence in using innovative print techniques.

17

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conTRibUToRs THis issUE

MAiRi cLARk, joURnALisT interviews M&C Saatchi founding director Jeremy Sinclair to discuss the brutal simplicity of thought

DAviD cook, soLiciToR AnD cybER ExpERT, pAnnonE reviews six high-profile sites to see if they are compliant with the changes to the EU cookie directive

sTEvE osboRnE, foUnDER, osboRnE pikE takes a look at the increasing use of interactivity in packaging design

goRDon yoUng, EDiToR oversees the publishing of The Drum’s website and magazine

gordon.young@thedrum.com

is London 2012 reaLLy everyone’s games? If you believe the well-rehearsed rhetoric of David Cameron and Lord Coe, the Lon-

don 2012 Olympics will engender a sense of national pride from Land’s End to John O’Groats. The culture secretary Jeremy Hunt went so far as to say it was his mission

to make sure that this will be ‘everyone’s Games’.Yet a week before the opening ceremony, organisers’ leaden handling of communica-

tions, marketing and security has imbued in many of us a sense of scepticism where there should be excitement.

A BBC survey revealed a troubling feeling of apathy towards London 2012 for those in the regions, highlighting that most people believe the Games will mainly benefit the capital and not the rest of the UK. Some 74 per cent said the rest of the UK would not benefit, with Scots and those in Wales, south west and northern England most likely to agree. What was that about everyone’s Games?

In Scotland, organisers have reluctantly resorted to literally giving away tickets to the Olympic football matches at Hampden because they can’t sell them.

It is little wonder there is a lack of public sentiment when we see an East London hous-ing block being converted into a military watchtower, replete with missiles on the roof, against the wishes of its residents. The images of snipers guarding the Olympic Stadium certainly capture the imagination – but for all the wrong reasons.

Then there’s the draconian marketing legislation which does nothing for either the public image of the Games or the man in the street’s impression of our industry. We’ve written at length in recent weeks about the heavy-handed laws that forbid anyone but the official sponsors from using innocuous terms such as gold, summer and London in their adver-tising campaigns during the Olympics.

It has since emerged that caterers in and around the Olympic Stadium will not be able to serve chips to fans due to the terms of London 2012’s sponsorship deal with McDon-ald’s. You can have fish and chips, or fries from McDonald’s, but a bag of chips on their own is out of the question.

And how’s this for timing. Last week it was discovered that the private security firm G4S did not have enough staff to fulfil its contract and protect the Olympic venues. This week hundreds of uniformed officers took to Britain’s streets with a brief to clamp down on any attempts at ambush marketing. The tabloids have dubbed this travelling squad ‘the brand police’. Is it any wonder people can be cynical about marketing?

As unearthed by the Index on Censorship, those of us who write anything but loving praise for the Games must not – repeat must not – include a link to the site in our articles. “No such link shall portray us... in a derogatory or otherwise objectionable manner,” the small print reads. Good luck enforcing that one.

It is because of such mishaps and meddling that many of us already feel weary about an event that is yet to begin. Thankfully, the Olympics, judged as a stunning sporting spectacle alone, should shake us from our slumber with the quality of competition on show. It is a sporting event after all.

Our politicians and officials may promise national pride, but it is patently obvious that the only people we can truly expect to deliver on that promise are the athletes themselves.

Publisher/Editor: gordon young Associate Editor: richard draycott Assistant Editor: Thomas o’neill News Editor: stephen Lepitak Opinion Editor: Cameron Clarke Staff Writer: Katie mcQuater Reporters: ishbel macleod, gillian West Business Development Director: Liz Hamilton Business Development Manager: James mcgowan Directory Sales: victoria swan Recruitment Sales: Tehmeena Latif Marketing & Subscriptions: ayush Kejriwal Design & Production Director: nick Creed Design/Production: amanda dewar, dane Brown Events Director: Lynn Lester Events Manager: Katy Thomson Managing Director: diane young Head of London Operations: andy oakes Head Office: 4th Floor, mercat Building, 26 gallowgate, glasgow g1 5aB Tel: 0141 552 5858 Fax: 0141 559 6050 Original Design: stand Printed by: stephens & george magazines

THE DRUM is published by Carnyx Group Limited. The publishers, authors and printers cannot accept liability for any errors or omissions. Any transparencies or artwork will be accepted at owner’s risk. All rights reserved. On no account may any part of this publication be reproduced in any form without the written permission of the copyright holder and publisher, application for which should be made to the publisher. © Carnyx groUp liMiTED 2012 iSSn 2046-0635

joHn gLEnDAy, REpoRTER keeps abreast of the latest goings on in the world of social media

john.glenday@thedrum.com

THoMAs o’nEiLL, AssisTAnT EDiToR brings together the best recent creative campaigns for The Worksthomas@thedrum.com

kATiE McqUATER, sTAff wRiTER assists with magazine production and online feature content

katie.mcquater@thedrum.com

sTEpHEn LEpiTAk, nEws EDiToR oversees news output and sources industry news and analysis

stephen.lepitak@thedrum.com

isHbEL MAcLEoD, REpoRTER reports on marketing and media news, and manages The Drum’s social media accounts

ishbel.macleod@thedrum.com

giLLiAn wEsT, REpoRTER reports on marketing and media news, industry trends and statistics

gillian.west@thedrum.com

cameron clarke, opinion Editorcameron.clarke@thedrum.com

www.thedrum.com JUL.20.12 THE DRUM06AGENDA

marketing deals

Has financial turmoil affected Lloyds TSB’s Olympics sponsorship strategy?

The Olympic Torch is set to reach its final destination, with the open-ing ceremony for the London 2012 Olympic and Paralympic Games just days away. While touring with the flame, Sally Hancock, direc-tor of Olympic marketing for offi-cial banking partner of the Games, Lloyds TSB and Bank of Scotland, spoke to The Drum about its activ-ity building up to the Games.

One of the first decisions made by the bank was to develop three objec-tives, which have remained in place over the five year journey, and which, insisted Hancock, were all treated with equal importance.

These were in the form of questions to answer: what would the sponsor-ship do for the brand? What would it do for employee motivation and pride? And what would it do to drive incre-mental business?

She said that all three have re-ported good results, and having ac-quired HBOS since, while seeing the company grow to around 100,000 employees, the sponsorship has also been used internally to bring together a large staff working across what was seen as two disparate brands.

Of the total 8,000 torch bearers, Lloyds TSB had 1,350 placements, the same number as other torch relay sponsors Coca-Cola and Samsung. The expectation that all of these bear-ers would be local heroes, however, caused controversy with US music star Will.i.am involved in the relay at one stage, alongside a Russian editor invited by Coca-Cola.

“I have been very clear all the way through this process that whatever the bank did had to be very credible and

authentic and appropriate for a bank to do,” replied Hancock when asked about her views on this. “I was very clear from the go that we wouldn’t be distributing torch bearer places to people within the organisation by virtue of their status. That was fully understood and completely accepted. Equally I wanted all of our torch bear-ers to be relevant and credible and in-line with LOCOG’s ambition for there to be people who have made a differ-ence within their community.”

Asked whether the turmoil within the financial climate affected the sponsor-ship strategy itself, Hancock said that she expected that it would: “I genu-inely thought at some point I’d get a call that said we’d need to scale it back, we need to do less, we need to consider how we might get out of the contract but that never happened.”

As to why the budget was never al-tered, she explained that it was due to initial agreements to phase the activation budget over the five years, which she says meant the deal was ‘a

The Drum speaks to Sally Hancock, director of Olympic marketing for Lloyds TSB, about the bank’s marketing activity in the run up to the Games.

fraction’ of the total price paid for the rights. Cost was also saved through a cull of unconnected sponsorships, alongside other revenue being divert-ed into the Games, such as the hospi-tality budget for the business banking arm of the bank being diverted through the Games too.

As to how restrictive the guidelines are for non-sponsors, most notably small business people, Hancock be-lieves that a pragmatic view should be taken of each case.

“Really, it is about having fun and celebrating. It is all within a certain degree of reason and good humour. Were 300 people to show up wear-ing Barclays football shirts and sit in a cluster within the stadium then yes, I’d want that seen to, but are we going to be concerned about one bloke walk-ing in with a football shirt that says Barclays on it? Of course not. That doesn’t make sense. We should be confident enough in our own activity not to worry about those things and I am confident enough.”

Aegis Media is set to be sold to Jap-anese media buying and planning agency Dentsu. Aegis has announced that it has agreed on the terms of a recommended cash offer for 30.5 per cent of Aegis’ ordinary share capital.

The deal values each Aegis share at £2.40, a 48 per cent premium on their closing price of £1.62 on 11 July, and values the entire business at £3,164m.

Dentsu has immediately purchased 15 per cent of the firm and has agreed to conditionally purchase a further 15.5 per cent.

Aegis directors will now unanimously recommend that shareholders approve the deal.

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Acquisitionsupdate

BBH is to be acquired by Publicis Groupe, which has held a minority stake in the agency for a decade.

The agency, which employs around 1,000 people, will become fully owned by Publicis, which has held a 49 per cent stake in the agency since 2002.

Following the acquisition, BBH has installed a new senior management team, with Alexandre Gama chosen to succeed Sir John Hegarty as worldwide chief creative officer.

Founding partners Nigel Bogle and Hegarty will both remain active on client business, however they will transfer their executive responsibilities to the management team.

THE DRUM JUL.20.12 www.thedrum.com AGENDA07

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How might the independent agency sector be impacted by the domino effect of acquisitions?

The UK marketing and digital sector is experiencing a wind of change. A number of high level acquisitions have taken place in recent weeks, spanning a range of sectors, not least digital.

These include WPP’s £540m acquisi-tion of AKQA; Chime Communications’ disposal of the Bell Pottinger business to its own directors; LBi’s admission to ac-quisition talks with Omnicom; Yammer entering the Microsoft fold; adam&eve being acquired by DDB Worldwide; Aegis agreeing to a cash offer from Dentsu, and advertising monolith BBH becoming wholly owned by Publicis Groupe.

But what does this mean for the inde-pendent sector watching these compa-nies join the network fold? The views to these deals seem to indicate that some have been initiated to resuscitate the holding company’s flagging offer, while others plug a skillset gap.

Douglas McCabe, media analyst for Enders Analysis, said that the direction is clear: “The larger agencies are acquir-ing the creative and technical skills they need as part of their service solution in the future. A certain independent ‘edge’ is clearly part of such an asset, as brands look to engage audiences with tech-niques beyond traditional advertising.”

Nicola Mendelsohn, chairman of Kar-marama and chair of the IPA, believes this to be an “exciting time” for the indus-try: “Industries that have momentum and growth indicates positive signs, which can only be a good thing.”

Mendelsohn added that growth in marketing spend, indicated by the pre-vious Bellwether Report for Q1, shows signs that confidence among market-ers had risen. Now, it would seem, after a couple of years of belt tightening, is a

good time to invest for marketing ser-vices agencies.

According to Tina Judic, managing director of Found, the marketplace is buoyant, but it is clear that digital is now leading the way, where unique specialism is demanded in order to most effectively ensure brand targeting and engagement: “Should smaller independent agencies feel threatened by this? I don’t think so,” said Judic. “If anything, such moves – yet to be shown to be successful – are a thumbs up that we’ve got something that the big guys want – and in such a fast-paced market, this is always going to be the case.”

Managing director of performance marketing company AffiliateTraction, Nicky McShane, who has joined the company to lead its entry into the UK and European marketplace, believes that the acquisitions support the importance of independent agencies: “Specialism and creativity are key commodities now and the bigger network’s templated service isn’t good enough. When you specialise you become a complete expert. That be-comes impossible when you generalise.”

Dale Gall, CEO of independent digital marketing agency Profero Group, also believes that a generalised offering, in the current environment, is going to be all the more difficult for agencies without global scale: “You either have to have global reach or you have to be pretty niche in the digital space. If you’re just a creative shop in the digital space, where increasingly some of the above-the-line agencies are doing good ideas in that space, unless you’ve got scale and the true ability to prove that you can deliver that to some point-of-difference, then you’re going to struggle.”

Commenting on the acquisitions of

The marketing and digital landscape has undergone significant change of late. The Drum’s Stephen Lepitak takes a look at how independents might be affected as a result of the latest tide of acquisitions.

AKQA and potentially LBi, Gall contin-ued: “There’s a hugely powerful sector between creative, digital and media which is really critical to the needs of cli-ents, is very demonstrable and is trans-forming the model quite rapidly.”

As to what it means for independent companies, Tarek Nseir, CEO of TH_NK, another independent digital player, said that consolidation will immediately push the company higher when it comes to independent lists, while also “liberating” talent to good agencies: “We are finding that clients who are looking for very strong core competencies in digital strategy and innovation are also looking for the ability to control action and delivery.”

Nicky Unsworth, who heads up BJL, a member of independent marketing net-work, Tribe Global, believes that now is a good time for agencies to aim for growth, describing good agencies as offering ‘strong and agile strategic thinking’ and using partnerships in order to strengthen that offer and grow reach.

“Clients like the ‘owner-run-and-man-aged’ model because our success is

their success and by their success, we have a massive vested interest in making things work. Independents, I suspect, are faring relatively well because clients see the value of that.”

Mendelsohn believes that the tide of acquisitions has caused a domino effect in creating other deals.

“Having these numbers of deals in a pretty short period of time shows that this is a growth sector, it’s an exciting area and that is good for all agencies of all sizes.”

Ultimately though, the industry has proven that clients will always want to work with exciting agencies that offer original and effective creative solutions, no matter what their size or reach. Bril-liant work can be produced by any com-pany, independent or in the form of a network owned agency, such was the meteoric rise of adam&eve as a recent example. Should that exciting creative come from an independent house how-ever, it’s only a matter of time before the networks come calling.

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THE DRUM JUL.20.12 www.thedrum.com AGENDA09

The BBC recently announced that Chris Moyles would be leaving the Radio 1 Breakfast Show in Septem-ber. Gary Davies left Radio 1 in 1993 after more than a decade as a DJ at the station.

Chris Moyles has had an impressive eight year reign on the Radio 1 break-fast slot, attracting over seven million listeners to the show each day. So one might argue that Moyles was still very much at the top of his game in a job that has not traditionally lasted more that a couple of years for other DJs.

“I think that he’s had an amazing run on the Breakfast Show,” Gary Davies told The Drum. “It’s the longest serving breakfast show on Radio 1, which is a real achievement.

“But the thing about Radio 1 is that it’s a youth market station and I think everybody who works there knows that you’re not going to be there for-ever. There are exceptions, I suppose, with Pete Tong and John Peel, but as a mainstream jockey you pretty much know that the closer you get to 40 your time is going to be limited.”

In a commercial radio world, everything is about audience figures whereas with the BBC and Radio 1 it’s about getting good audience figures but also meeting your target demographic as well.”

New breakfast host Nick Grimshaw, 27, already presents a late night show on Radio 1 as well as Channel 4’s youth slot, T4. But will the new addition to breakfast radio bring in the station’s key target demographic as well as maintain-ing the audience figures?

Davies said: “When someone’s been there for a very long time and gathered a very loyal following there will initially be an effect on listening figures. Obviously the idea is that Nick will win them over as soon as he can and try and build on what Chris has achieved over the last eight years. But my guess is probably, initially, there will be a small dip.

“[Grimshaw] is a really good jockey. He’s funny, he’s chatty, he’s got an ex-cellent knowledge of music. It will be in-teresting to see him in a situation where he is playing more commercial music than he is doing at night time. But time will tell. Who knows.”

And therein lies the problem. At 38, the age gap between Moyles and his intended audience was becoming ever greater. In a report published last No-vember, the BBC Trust found that the station needed to work harder to attract more under 30s, with the average lis-tener of Moyles’ show being 32.

Davies, who presented Radio 1 lunch-time show ‘The Bit In The Middle’ during the 1980s, was part of a similar replace-ment of old presenters with new, young-er ones upon the arrival of axe-wielding station controller Matthew Bannister in 1993. As such, the resignation of 38-year-old Moyles comes as no surprise to him.

“I think Radio 1 has always done that throughout the years,” Davies said. “It’s an interesting dilemma that it has be-cause obviously it doesn’t want to lose the audience but it has to stay within the remits of the station youth wise. It’s not like Radio 2 where you can potentially be a DJ until the day you die.

“On Radio 1 as you get to 40, you’re getting a bit old for your audience re-gardless of how good your figures are.

media

Mike Williamson, head of radio at Carat, thinks Chris Moyles’ exit from the Radio 1 Breakfast Show signals an effort from the station to recon-nect with a younger audience. Here’s what he had to say...

“Radio 1’s announcement that Chris Moyles will leave its flagship show in September isn’t a small step change; this is a bold long term shift in its audi-ence strategy.

Controller Ben Cooper has been under pressure to bring the average age down as its current average listener age is 32. Moyles’ eight year run as the longest serving Radio 1 breakfast pre-senter ever has taken the audience too old. He leaves with an audience of 7.1m weekly listeners.

It was expected that Greg James would be his replacement. He would have been the safe choice – ensuring some of Moyles’ loyal listeners stay with Radio 1.

Grimshaw was not seen as a favourite as he currently hosts evening specialist shows. But his credentials for attracting a much younger audience are clear and he will deliver against this objective.

With Grimshaw and James on the two flagship Radio 1 shows, the BBC’s long term strategy is clear: it is aligning its schedule to attract the younger end of its 15-29 year old target market.

The short term is likely to see loyal Moyles listeners switch to other sta-tions. But this is what the BBC wants and needs to happen. Will the 30+ year old Moyles listeners switch to Chris Evans’ Radio 2 show? Will they move over to commercial stations and irrev-erent breakfast DJs such as Christian O’Connell’s Absolute Radio show?

The first set of listening figures for the new breakfast show host will not be re-leased until early 2013, leaving time for the BBC to do a huge amount of mar-keting across its platforms to minimise any drops in the listener base.”

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The new generation: What is the future for Radio 1 post-Moyles? After the announcement that Chris Moyles is to leave the Radio 1 Breakfast Show in September, The Drum caught up with former Radio 1 DJ Gary Davies, now running branded content agency Upfront, to find out what Moyles’ exit means for the future of a station looking for a younger audience.

www.thedrum.com JUL.20.12 THE DRUM10AGENDA

digital

High-profile breaches of cookie law legislation

There has been a muted response in the media to the changes to the law on the use of cookies, but they are poten-tially far reaching.

The issue for businesses is that the Information Commissioner’s Office can impose fines of up to £500,000. Whether fines of that amount will ever be imposed is another matter, but the public naming and shaming that would result from even a minor breach could be a public relations disaster for companies.

The amended legislation is only a subtle change but it does have an effect. It now states that cookies cannot be used unless the person has already consented. Essentially, this means that it is now an opt-in system rather than opt-out.

The new rules are fairly simple and de-signing a website with them in mind from scratch would be pretty easy. However, the problem is that most websites have not been redesigned for this purpose, presumably because of the cost and loss of sales while the site is down. Most sites therefore simply shoe-horned in a pop-up box or some other method of compliance, which tend to be completely at odds with the aesthetic of the rest of the site.

This consent rule applies to every type of cookie that is not ‘strictly necessary’. Many website owners originally saw this as a get-out and planned to suggest that all of their cookies were strictly necessary. However, the European legislators have stated that a cookie that is strictly nec-essary should make up only a very small percentage of the number of cookies

The EU’s Privacy and Electronic Communications Directive, or cookie law, came into force in the UK in May. But are websites complying? David Cook, solicitor and cyber expert at law firm Pannone, reviews six high-profile sites to find out.

a site uses and would be the exception rather than the norm. Examples of strictly necessary cookies are therefore those which help the site remember your choic-es when making an online purchase.

The ICO has recommended that web-site owners take the following steps:1. Review what type of cookies the site is using and how they are using them.2. Consider how intrusive the use of these cookies is.3. Decide what method of consent will be best in the circumstances.

The ICO recognised the difficulties that could be caused by these changes and agreed to delay enforcing them for a 12 month period, to give UK businesses enough time to resolve any issues arising. That deadline expired on 25 May and, predictably, nobody was ready. Cue many rushed website changes.

Despite more than a month having-passed since this legislation became properly active, it is clear that many sites have either misunderstood the legislation or are flagrantly disregarding it. When the ICO has stated that only the most prolific offenders in the most serious of breaches will receive a fine, there appears little in-centive to properly implement the chang-es when a token attempt will do for now.

But at some point the ICO will have to bare its teeth. The directive is clear and the government has stated it will comply with it. The ICO, which has been chosen to police the issue, will have to be seen to take it seriously, even if website owners are currently not.

Information Commissioner’s Officewww.ico.gov.ukIt would be very embarrassing if the arbiter of the new cookie regime was itself breaching the legislation. However, it does not appear to be. Its website uses a discrete toolbar at the top of the screen, which is set to not accept cookies unless a person makes a choice by positively accept-ing them. Its explanation of which cookies they use and why is also thoroughly explained.

Channel 4www.channel4.comChannel 4 has used a status bar at the top of the screen, which requests a decision on whether cookies are ac-cepted or not. It also explains which cookies are used and why. It has utilised a fairly non-intrusive method which appears fully compliant.

The Telegraphwww.telegraph.co.ukThis site has taken a somewhat hybrid approach – there is a fairly no-ticeable toolbar at the top, explaining about “privacy and cookies”, but this fails to explicitly request consent. The information that a user is directed to is fairly thorough, but it nevertheless does not appear to have complied properly. The suggestion of the ICO to have a tick-box has gone unheed-ed. Given the setup of the toolbar, the addition of a tick-box would be incredibly easy and it is unclear why it has not utilised this method.

The cost of adding a tick-box to that toolbar would be relatively small, when compared to the original cost of implementing the toolbar itself. The cost of adding the tick-box when compared to the maximum fine that the ICO could impose, of £500,000, is infinitesimally small.

The Financial Timeswww.ft.comThe Financial Times website utilises a pop-up box. The rest of the screen greys out and the pop-up, whilst pretty intrusive, does the job. This method forces the user to immedi-ately consent – or not – to the use of cookies, which are properly explained. The FT website therefore appears fully compliant with the changes.

Mail Onlinewww.dailymail.co.ukThis website is supposed to be the most viewed newspaper site in the world. Needless to say then, the amount of viewers per day must be massive. It is therefore extraordinary to see that it does not appear to have made any changes at all. The foot of the page has a link to their privacy policy, which itself appears compliant. However, to consider the subject of opt-in, you have to go to a further link, which does a decent job of explaining the position.

As I see it, the issue with this site is that it seeks to rely on implied consent – the user continues to use the site and so it is implied that they consent to its cookie policy. The ICO guidance states that sites need to gain a positive indication that users understand and agree to the changes, most commonly obtained by asking the user to tick a box to indicate that they do indeed consent to the new terms. The ICO also states that any attempt to gain con-sent that relies on users’ ignorance about what they are agreeing to is unlikely to be compliant. With that in mind, I simply cannot see how this site is compliant.

Department for Transportwww.dft.gov.ukApparently, government websites have been slow to update their sites to take into account the changes to the cookie law. But the ICO is supposed to have sent a letter of warning to 75 of the UK’s most popular websites asking for them to prove within 28 days how they are moving towards compliance with the new legislation. The Department for Transport is one of those sites.

It is therefore fairly worrying to note that the DFT website appears unchanged. It has a cookie option on the site, in amongst the many other options. Clicking on this also allows you to consider the brief explanation as to how to amend the browser settings to control cookies manually. However, this also appears contrary to the spirit of the legislation and, being as the ICO singled out this site, it will be interesting to see how it is received.

THE DRUM JUL.20.12 www.thedrum.com AGENDA11

social media

social media

1. UnderstandingYou wouldn’t buy a house without checking out the area and the neigh-bours first, so why would you start your social presence without understand-ing as much as possible about what is going on around your business?

2. ResourceIf you don’t have a dedicated market-ing department, don’t put someone too senior in charge of the project. They’ll always have bigger priorities and the social project will tend to find itself side-tracked.

In the same vein, don’t pick some-one too junior. Social content needs

5 steps for making social B2B work

the same thorough checks you’d put in place if you were sending out analysis to a client. It’s an extension of the meta-phorical shop window.

3. Buy-inYou need to have buy-in for the right reasons. Too many businesses enter the space tentatively with the attitude it won’t work or it’s a waste of money. If you head into social media with that at-titude, it simply won’t succeed.

Pete Wood, account manager at digital marketing agency Steak, offers up five top tips to help make B2B social work for your business.

“We’d been told by various people that Facebook’s adverts either weren’t delivering good results or were deliv-ering lots and lots of ‘customers’ or likes which were of little value and we wanted to put that to the test,” BBC technology correspondent Rory Cel-lan-Jones told The Drum.

From this Cellan-Jones and a team at the BBC decided to test the theory by creating the Facebook page ‘VirtualBa-gel’ to investigate the value of Facebook advertising and ‘likes’.

He explained the concept of ‘VirtualBa-gel’ was little more than a picture and a slightly daft slogan; it wasn’t promoted in any way except via Facebook and widely targeted the US, the UK and a number of Middle East and Asian countries. In just 24 hours ‘VirtualBagel’ had garnered 1,600 likes and just a short time later the fictitious brand had amassed an online following of 3,000 fans.

The findings of this investigation, ac-cording to Cellan-Jones, call into ques-tion the value of advertising on the social media site:

“Advertisers are paying for a click from somebody who doesn’t really exist and the question we put to Facebook is what are you doing to police that? Is it a serious issue?”

According to online statistics, around six per cent of Facebook profiles are bogus and recently General Motors (GM) pulled its $10 million advertising portfolio from Facebook, claiming it

BBC’s Cellan-Jones talks VirtualBagel

wasn’t getting any real return from being on the site.

Cellan-Jones told us he had also spoken to a “major British brand, who didn’t want to be named, but who said exactly the same; we can’t justify spend-ing money on adverts on Facebook. You might want to be on there, you might want to have an interesting page and engage with people, but spending money on adverts seems pretty pointless.”

Facebook and social media consul-tants have responded by saying this is

an example of poor advertising practice and brands will get better results and better returns if they target their adverts correctly.

Worryingly for Facebook, which has recently gone public, Cellan-Jones’ findings, in his words, show “you can achieve an awful lot on Facebook for your brand without ever spending a penny, which is a big worry for Face-book as it needs to go on building rev-enue quite substantially if it’s to justify its valuation.”

Following a Facebook investigation which saw the BBC question the value of Facebook ‘likes’ and advertising investment for brands, The Drum spoke to BBC technology correspondent Rory Cellan-Jones, the man behind ‘VirtualBagel’.

eVeNTs

Rewarding effective social media campaigns and open to agencies and clients based in the UK, there are 27 categories to enter in the Social Buzz Awards 2012 including new categories In-house Client Team; User Generated Content; Crisis Management; and Use of Insight/Monitoring. Judged by individuals with extensive experience and knowledge in social media, including @VincentBoon @NickJonesCOI @sedgebeswick and @jeremywaite. www.socialbuzzawards.com @buzz_awards Entry Deadline: 1 August

Enter Cream Midlands or Cream Yorkshire and prove great work is being produced in the regions. Check the websites to see eligible postcodes.midlands.creamawards.co.ukyorkshire.creamawards.co.ukEntry deadline: 27 July

Entries are now open for the MiAwards. To view categories and details on how to enter visit miawards.meEntry deadline: 7 September

The Creative Out of Home Awards in Association with Clear Channel is now open for entries. For more information and to enter, visit creativeoutofhomeawards.com Entry deadline: 31 August

4. CooperationThere’s no point being in the social space just existing. You want to give the people interacting with your content an experience. The only way you can do this is by sharing the knowledge you have about your product or service.

5. GoalsDon’t just make your goals around hard targets like followers or fans. Look for business social goals.

12PITCH www.thedrum.com JUL.20.12 THE DRUM

NEED THE RIGHT AGENCY, YESTERDAY? Fast track your agency review and stay focused on the day job.

Visit www.recommendedagencies.com and call 0845 004 5626

hot pitch

Mars is in talks with a number of UK shops as it looks to put together a roster of consumer agencies to devel-op more innovative and creative cam-paigns and build its profile in chocolate and non-confectionery categories.

Visit Wales is reviewing its commu-nications planning account through the Government Procurement Service. The account is currently serviced by Arena Media.

B&Q is set to review its £40m ad account, with eight agencies, includ-ing incumbent McCann London, lining up to pitch for the DIY retailer’s adver-tising business.

Ben Sherman is seeking a shop to handle a new advertising campaign for its upcoming collection. The Brit-ish clothing brand currently handles advertising in-house.

Vitaminwater, the Coca-Cola owned water brand, has called a pitch for its European advertising account.

Huawei, the Chinese telecoms giant, is on the hunt for an agency to run a corporate brand strategy brief.

Direct Line Group’s review of its direct marketing business is drawing to a close, with a decision imminent. MRM Meteorite, Kitcatt Nohr Digitas and OgilvyOne are in the running.

Marriott’s pan-European advertis-ing review is under way, with a shortlist of agencies including Anomaly, AMP London, Partners Andrews Aldridge and The Red Brick Road pitching for the account.

Tesco is holding final pitches this week for its £100m advertising ac-count, with VCCP, Wieden+Kennedy and TBWA\Manchester competing for the account.

RAC has grown its pitch list for its advertising account to now include incumbent Rapier, Grey, Saatchi & Saatchi, Rainey Kelly Campbell Roalfe/Y&R, Bartle Bogle Hegarty and Adam & Eve/DDB.

Pitch news and reviewsPlenty of updates on the pitch front, including Tesco’s £100m ad review drawing to a close and B&Q seeking a shop for its £40m account.

NSPCC reviews £5m fundraising ad accountThe National Society for the Prevention of Cruelty to Children is looking for an agency to handle its £5m advertising ac-count across its fundraising business.

The children’s charity has issued an RFI to agencies, with an appointment expect-ed later in the year. Incumbent Rapp has worked with the charity for 12 years.

The account will focus on increasing fundraising activity, traditionally consist-ing of direct mail and direct response TV.

The charity is also reviewing its media planning and buying account. Rapp is also incumbent on DR media, and Ze-nithOptimedia incumbent on ATL media.

aCCoUnTs UnDER REvIEw

aDvERTIsER aCCoUnT woRTH

B&Q Advertising £40mBenSherman Advertising n/aDirectLineGroup Directmarketing n/aHuawei Corporatebrandstrategy n/aMarriott Pan-Europeanadvertising n/aMars Consumerroster n/aNSPCC Advertising £5mRAC Advertising n/aTesco Advertising £100mVisitWales Communicationsplanning n/aVitaminwater Advertising n/a

PEOPLE13 THE DRUM JUL.20.12 www.thedrum.com

Mecca Bingo has hired James Con-don, previously marketing director at Morrisons, as its new brand mar-keting director.

Condon had been marketing di-rector at Morrisons since September 2011, after six months of holding the post on an interim basis. Before join-ing the supermarket chain he was chief operating officer at Lebara Mo-bile, and he has also held senior roles at Tesco and Wal-Mart.

Mecca Bingo managing director Mark Jones said: “Recent customer insights reveal that it doesn’t matter whether our customers play online, in clubs, on their smartphone or iPad – as far as they are concerned they are playing at Mecca. For that reason, we took the decision to move from a

180 Amsterdam has ap-pointed Graeme Hall as creative director, with Hall relocating to the Netherlands after nearly

three years with Y&R New York.At Y&R Hall worked on campaigns

for the likes of Dell and VH1 and was creative director for Virgin Atlantic. Pre-viously Hall spent five years at DDB Lon-don working on campaigns for brands including Marmite and Harvey Nichols.

Blast Radius has appointed Lucille Moreau to its expanding Amsterdam office in

the role of client director on the pan-European Michelin account.

Starcom MediaVest Group has brought in Alfred Cheng from MEC Hong Kong as its regional director for Hong Kong.

Euro RSCG PR has hired Steve Marinker as MD. Marinker’s new role includes business development and overseeing the directors.

LBi has appointed Greg Georgiades from JWT as UK client partner, where he will head up relationships

on flagship accounts such as Asda, RBS and E.ON.

TMW has promoted Daren Kay, its joint executive creative director, to the newly created role of director of innovation.

Enjoy Digital has announced the appointment of Kristal Ireland as strategy director.

Total Media has announced the appointment of Celine Saturnino as head of digital. Saturnino joins from MPG.

Fetch Media has appointed Matt Champion as media services director.

Ignite has appointed Peter Smith as marketing manager, with Smith joining after two years at

iD Experimental.

channel-based structure to a brand-based one, creating a single Mecca brand team so that we can collectively focus on delivering a fantastic experi-ence for our customers no matter how they choose to play.

“With his extensive senior level re-tail and digital experience, James will play a key role in ensuring that Mecca continues to lead the industry across all platforms.”

Jordi Pont has made a re-turn to Wieden+Kennedy Amsterdam to take up the post of group ac-count director on Hei-

nken and GE.Pont rejoins the agency after two

years as managing director of DoubleY-ou Madrid. He first joined the Amster-dam agency in 2008 as account direc-tor, leading the Nike Football account and the ‘Write the Future’ campaign.

People on the move...

McCann London has made two internal pro-motions, with Jamie Co-pas taking on the role of chief operating officer

while Simon Hill has been announced as head of account management.

Previously client services director, Co-pas will take on the COO role for McCann London immediately, and will continue to lead key client relationships, while also aiming for operational excellency across the agency.

180 Amsterdam hires Hall as creative director

Pont returns to Wieden+Kennedy

McCann London appoints COO

Mecca Bingo brings in Morrisons’ Condon

Pure Agency has announced the ap-pointment of Femi Omoluabi as UK vice president.

Omoluabi, who joins from Manning Gottlieb OMD, is charged with estab-lishing the European agency in the UK, maintaining and growing of the UK arm and identifying key new business op-portunities.

He said: “I’m thrilled to be joining Pure Agency at such an exciting time. Mobile marketing is the fastest growing and most innovative area of marketing at the moment, so the opportunities for expansion in the UK are immense.”

Omoluabi reports to CEO Christophe Leon, who said: “We’re very excited to have Mr Omoluabi join us at Pure Agency and to have him lead the com-

pany’s expansion into the UK. Since its creation in 2008, Pure Agency has rapidly become a powerhouse in Eu-rope and is synonymous with success and results. The company is a powerful entrant to the market that will certainly shake things up in the UK. We are very much looking forward to working with Mr Omoluabi who is as enthusiastic as we are about launching in Britain.”

Pure Agency appoints Omoluabi as UK VP

Anyone can find you people…

…we’ll find you talent.Creative / Account Handling / PR recruitmentpitchconsultants.co.uk / info@pitchconsultants.co.uk / 0121 270 4080

14m&c Saatchi www.thedrum.com JUL.20.12 thE DRUm

He has been described as the ‘shad-owy partner’ of M&C Saatchi, and the ‘quiet man of advertising’. When I finally meet Jeremy Sinclair, chairman of M&C Saatchi, I’m astonished that we haven’t

met before. After nearly twenty years in the industry, and almost 50 years for him, it’s surprising.

But that’s the attraction of Sinclair. He admits that he lies below the ‘celebrity’ level of the ad industry, but seems to be relishing his new-found status as an author of advertising literature after the publication of Brutal Simplicity Of Thought.

“Creativity is ignored,” he says. “Things come in and out of fashion. Most types of advertising are far too complicated. Most people who have an understanding of the simplicity of the world become Steve Jobs.”

The book, which has now been replicated in several languages, has evolved into a competition for young creatives to win an internship in M&C Saatchi’s offices in London’s Golden Square. The book looks at Sinclair’s belief in ‘inspiration being both verbal and visual’, so the competition has rules which relate just that.

The ethos of the book remains at the centre of what the Saatchi brothers evoked, but Sinclair has a slightly lower-key past than them.

He stumbled into advertising via a stint in Paris. “I saw an ad in The Times for Watford Art School,” he says. “So I wrote in and said I’m the kind of person that you want. I wrote, actually to all the advertisers at the time, just to see what kind of response I’d get.”

A trip to Algeria delayed his journey to Watford – a well known incubator for advertising gurus – but after borrowing the money from his mum to do the entry test, he got in.

After joining what was then Cramer Saatchi in 1967, he was responsible for overseeing possibly two of the most famous ads of all time: The Pregnant Man for the Health Education Council in 1969 and Labour Isn’t Working for the Conservatives in the 1979 election.

“In my view of the business, there are two adverts which, when you can go to a dinner party and people

say “what do you do?”, you mention them and they know them,” he says.

Saatchi & Saatchi was formed in 1970, and Sinclair was a stalwart until the heady times of the 90s. Mau-rice and Charles Saatchi were unfavoured by the new management board of the parent company of Saatchi & Saatchi and when the idea of ousting them was mooted in 1994, Sinclair was not for turning – to quote his favoured party’s line.

“We told the board not to get rid of Maurice and Charles, as did Mars and British Airways,” he says. “Then when they did, we [Sinclair, Bill Gallacher and David Kershaw] thought ‘we’re not going to spend the next five years making up for a mistake we told people

not to make. We’re going to start an agency.’ “Then we had a phone call from Maurice and Charles

who wanted to join us.”The agency has since gone from strength to strength,

with this new book – and competition – being another injection of vigour.

“Oddly enough, the idea for doing the book was Moray’s,” Sinclair says, referring to Moray MacLennan, the agency’s worldwide CEO. “I nicked the idea off him, and just did it. When he suggested it, I said ‘that’s a great idea, now you sit back, have a rest and I’ll do the book’. So then we just took it and did it.”

Sinclair has a passion for creativity; one that has led to him being lauded by his peers. Being in the industry for so long he’s clearly seen changes. The question of whether accountability is helping creativity or hindering it is one that causes him some thought.

“Certainly clients know how every penny is being spent, much more than they ever did, and I would question whether that’s making advertising more effec-

tive,” he says. “The whole idea of procurement, I don’t know whether that’s making advertising a) cheaper or b) more effective.”

The ironic thing about Sinclair’s involvement with the Conservatives is that if he wasn’t in advertising, he’d be in politics. “I’ve always believed if you go into poli-tics, you should do something before,” he says. “So I wasn’t completely waylaid. Besides we do a lot of politics as an agency.”

It shouldn’t be surprising that Sinclair’s love of phi-losophy has influenced the Brutal Simplicity Of Thought. He teaches his other passion outside creative advertis-ing twice a week at London’s School of Economic Sci-ence. “The philosophy that I teach is to be useful, and

not just about mind expanding,” he says. “That’s heavily influenced the book. Part of it is about looking at things and then looking again to see just what they are.”

The book has been a great success. The agency ran a course for staff – led by Sinclair – and then started compiling ideas for a second edition. The whole pro-cess was driven by what would work as an ad.

“We edited it down by a completely arbitrary and egocentric manner,” Sinclair says. “There are rules. You have to have a very simple picture, you have to have a question on the right-hand side and the copy has to be four to six lines. You could end up with the discovery of penicillin or nuclear power. It mustn’t become a list of inventions, it has to become ideas.”

The project, if you can call it that, has yet to come to fruition. “Well, the first thing that has to be done, long before the work,” he says, “is that your strategy has to be correct. What is supposed to be ‘brutal’ is your thinking. The first thing you’re supposed to be brutal with is yourself; to cut out all those irrelevant bits.”

In the complex world of advertising, creativity is often overlooked. Mairi Clark catches up with M&C Saatchi’s ‘quiet man’ Jeremy Sinclair to discuss brutally simple thinking.

SIMplICITY OF THOUGHT

“moSt typES of aDvERtiSing aRE faR too complicatED. moSt pEoplE who havE an UnDERStanDing of thE Simplicity of thE woRlD bEcomE StEvE JobS.”

m&c Saatchi15 thE DRUm JUL.20.12 www.thedrum.com

SIMplICITY OF THOUGHT

In designing Fenland we looked for a new way to create shapes in order to help you create new designs.

see more at typography.net

Email info@typography.net for afree limited edition sample book(a shortened pdf version can be downloaded at typography.net)

Fenlandour new 14 font typeface

creative news17tHe DrUM JUL.20.12 www.thedrum.com

the worksTo submit work to our creative round-up contact thomas@thedrum.com

the packaging for the first craft ale released by LittlePod has been designed by aesop. LittlePod vanilla Beer is a dark ale that infuses honey and vanilla to create a ‘not overtly sweet flavour’.LittlePod tasked aesop with designing packaging which would reflect the beer’s ‘innate specialness’, it has said.

taxi studio has created the identity for carlsberg’s new cider product somersby.taxi was also responsible for creating the identity for somersby in Denmark, which is a separate product and brand.the branding utilises a green similar to parent brand carlsberg which it says is unique in a cider category dominated by yellows and blacks.

M-four, Manchester city council’s in-house

creative agency, has designed invites and a promotional campaign

for the opening of the national Football

Museum in Manchester. the invites are red and yellow cards which tell guests they have been

‘booked’ for the occasion.

18tHe works www.thedrum.com JUL.20.12 tHe DrUM

Yesterday has unveiled a brand refresh with agency DixonBaxi to help

change viewers’ perceptions of the factual tv channel.

the channel looks to make its audience more diverse, with a new logo and set of

idents to launch 24 July.

studioLr has designed a book as part of whatever gets you through the night, a new multimedia project created by olivier award-winning theatre director cora Bissett, edinburgh band swimmer one and playwright David Greig.

creative news19tHe DrUM JUL.20.12 www.thedrum.com

channel 4’s new channel 4seven, which will show the most popular content from the last seven days, has launched with identity by ManvsMachine with a distinctive corner wrap concept across the package.the idents were created to be similar to the ‘everyday location’ ones used by channel 4, while at the same keep keeping its own identity.

international design and style magazine, wallpaper* has launched a new fragrance

with German publisher Gerhard steidl and fashion icon karl Lagerfeld.

the perfume captures the scent of freshly printed books and the packaging,

designed by Lagerfeld, features a real book with a hidden cut out compartment

to house the bottle.

20tHe works www.thedrum.com JUL.20.12 tHe DrUM

creative agency Music has created the identity and graphics for the Britain

creates 2012: Fashion & art collusion.

rob ricketts has designed a series of posters detailing how some of the most notable drum sequences were programmed using the roland tr-808 Drum Machine. each sequence has been analysed and represented as to allow users to re-programme each sequence, key for key.

creative news21tHe DrUM JUL.20.12 www.thedrum.com

Daniel Britt has directed and animated an animation for the wMD awareness Programme for its 1000 reasons campaign, devising a low budget solution to create a stop-motion animation.

Build has designed a box set of Gary Hustwit directed documentary films, devising a system of abbreviating each film (He-Helvetica/Ob-Objectified/Ur-Urbanized) to give the box set an identity of its own.

22packaging www.thedrum.com JUL.20.12 THE DRUM

There was a time when the very idea of packaging was new technology. Napoleon is often credited with spawning the idea by offering a prize to anyone who could find a way to preserve food for his much-travelled

armies. Nicolas Appert won the 12,000 francs and more or less invented the canning process.

Appert’s invention was all about functionality, but by the time packaging became widely available in the late 19th century it had started to take on a new role – re-placing the people who previously mediated in the buying and selling of goods, and telling a story about the product and its manufacturer. As one of the very first packaged brands, Quaker’s name and symbol epitomised the most popular of all brand stories: trust and dependability.

Nowadays we’ve become used to packaging as a so-phisticated marketing tool, using the subtle interplay of form, materials, colour and design to appeal to our sense of self. Without saying a word packaging speaks to us, earning it the reputation of ‘The Silent Salesman’.

But now digital technology is changing the game again – souping-up our view of the real world with an overlay of virtual information, which brands are moving to exploit. Far from being the silent salesman, packag-ing can now broadcast its own advertising, show you a 3D version of its contents in action, or take you to a microsite or app, all with the swipe of a smartphone.

Brancott Estate, for example, now features a QR code on its back label that opens the digital door to 14 different brand experiences, prompting its marketing people to dub it ‘the world’s most curious bottle’.

It’s innovative, but trying it at a dinner party I was in danger of becoming the world’s least interesting guest, as I downloaded the app and presented my phone to the code repeatedly so I could tell my friends about the New Zealand climate, or what we should have been eating with this wine. By that time they were on the dessert.

Much as I applaud this exploration of ways to en-

hance packaging communication, I didn’t find the point of consumption to be the best moment to take it all in.

Nor would I imagine is the point-of-sale. The thought of a Friday evening in Asda, dozens of smart shoppers hovering smartphones over smart packaging, doesn’t feel like ‘augmented’ reality, more an inconvenient one.

But sit me down in a comfy chair with a glossy maga-zine and it’s another story. Ardaich water cleverly used augmented reality to illustrate its defining story of ‘the water that whisky drinkers choose’. The AR-enhanced print ad dives beautifully into this theme, playing an epic film about the ‘cold, mineral rich waters of the raging North Atlantic’ on your smartphone or tablet.

Now if the real bottle could suddenly trigger this story again from the shelf as I walk past, we might just be in business, and of course this kind of interactivity is surely where we’re heading.

Google glasses, currently in test phase, promise to superimpose informational or experiential graphics on top of real world objects, triggered not through codes but more advanced object recognition technology.

Nutrition and price information could appear mid-aisle, a nod of the head present us with recipe ideas, and a satnav function would avoid us having to ask where to find the cupcakes.

It might be a while before we have access to the kind of infographics Tony Stark (aka Iron Man) enjoys, but the likes of Google, Layar and Aurasma are clearly working to provide new interactive experiences and transactions.

But back in the present day, digital applications

capable of enhancing the brand experience created by packaging are springing up everywhere. Suremen transformed its cans into game controllers which, when pointed at a webcam, let players face a range of adventurous challenges in a bid to win prizes.

Dutch design graduate Niels van Hoof meanwhile has created an app called Taggie, intended to encourage children to access information on the origin, cultivation, variety and nutritional values of various products.

Brands will argue that this is exactly what the con-sumer wants – more informed choices. Yes, we do want to preserve the environment, we do want healthy options, we may be calorie counting or allergic to

nuts and we are interested in provenance; but no, we haven’t got all day. Research by experts in business, psychology and neuroscience has shown that in many fields a wealth of information is creating a poverty of attention, meaning that as consumers we make a lot of short-cuts (technically known as choice heuristics) in arriving at our decisions.

Typically we will ignore most of the available informa-tion and rely on a few important cues, like good old-fashioned pre-digital packaging design.

Technology-enhanced ‘experiential’ packaging design will no doubt flourish in the coming years, but it must go beyond the level of a short term technology ‘hit’ if it is to achieve true brand engagement.

One thing is for sure: brands and their agencies are all going to face plenty of challenges, but also have a lot of fun, as we explore this brave new world.

Don’t just stanD there... entertain me! steve osborne of brand design consultancy osborne Pike considers how packaging is fast becoming its own advertising.

“in Many fiElDs a wEalTH of infoRMaTion is cREaTing a povERTy of aTTEnTion, MEaning THaT as consUMERs wE MakE a loT of sHoRT-cUTs (TEcHnically known as cHoicE HEURisTics) in aRRiving aT oUR DEcisions.”

packaging23 THE DRUM JUL.20.12 www.thedrum.com

Don’t just stanD there... entertain me!

01 Suremen’s interactive packaging turns deodorant cans into game controllers 02 google glasses could herald the dawn of interactive transactions 03 Taggie, the app from niels van Hoof, helps inform children of the origin, cultivation, variety and nutritional values of fruit and veg

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Want to be an influencer online?Become a socialeader with social media

Whether you’re new to social media or racing to keep up with every new platform, you can master the art of social media storytelling:

• Cut through the noise and attract larger, more important communities

• Build relationships that will accelerate your growth and magnify your influence

• Create narratives that will last and a reputation your rivals will envy

• Track your social capital so you can improve it and become a serious online influencer

Available in print and e-book format

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book preview25 THe DrUM JUL.20.12 www.thedrum.com

Begin with the end in mind. A massive organi-zational shift is coming – to the way we work and the way we live. It’s everywhere. There is no escaping it. Everyone is a media company

now. And, as the effects of online influence remap the world, you will want to ensure a seat at the table for your-self and for your family. Your best chance is to become a Socialeader and rise with the tide.

The divide between the social ‘haves’ and ‘have nots’ will be very real. Those who fail to chase this opportu-nity today are placing their future in jeopardy. We have seen the beginnings of a reputation economy take hold, with velvet ropes going up around goods and services reserved for only those with enough online influence.

That online influence doesn’t just happen. It can’t truly be bought – no matter how many digital agencies say they can sell it to you. Socialeaders must find their own stories. You must be clear in your heart what you stand for. And you must step confidently onto the public stage and start meeting people.

To be a social ‘have’, seek out the connections you need to get to where you want to go. Foster those con-nections through the exchange of social currency, letting your curation tell your story, rather than coming on too strong with a sales pitch. People want to be wooed. But remember, loyalty can’t be bought. It is earned through actions.

Actions speak louder than words, which means that we need to put others before ourselves. Don’t let your quest for influence become an ego project. Instead, look

In the first of a series of new book reviews and previews, The Drum brings you an extract from Jay Oatway’s new title Mastering Story, Community and Influence, in which the author explains how to use social media to become a socialeader.

ALL ABOARD THE SOCIAL TRAIN

and where you want to be in just a few years. You are not going to get there solely offline, at least not for much longer.

Don’t leave your future to chance. Don’t be the boat without the rudder. Be proactive in building your influ-ence: manage your Dunbar Portfolio; connect to the right people, not the most people; claim a larger mind share of the master narrative. Be confident in yourself – you can be a significant online player. This isn’t the mass media era where the limelight was reserved for the anointed few. Today, all the online influence you want is there for the taking. Go get it.

Online influence, once you’ve had a taste of it, will be hard to let go of. But don’t let it change you. Keep it real. Sure, go ahead and enjoy some of the spoils of online in-fluence, but remember that any social credit you accept will force you to find a way to balance the social capital.

Don’t let your reputation be tarnished by the acts of others. Guard it jealously, for it is your future – and every-thing that happens online stays online. Search engines don’t forget. Begin today with that in mind.

The Socialeader train is now leav-ing the station. If you run, you can still catch it.

Taken from Mastering Story, Community and Influence by Jay Oatway (Wiley, £16.99). Out now in print and ebook format, from all good bookshops.

out for those around you. Build a reputation as someone who takes care of his or her community. It’s how you help others that is going to make the real distinction in your reputation.

Be accountable to your audiences, for it is they who give you your authority. They are the ones who will back you in a fight. Don’t just ‘build’ community, become a part of one. Be bold and take a leadership role if you can. Get involved with the work of other people; let that com-munity participate in your work. This is the beginning of an era of collaboration, and those of us who have come from a previous era need to make a conscious decision to open up in a way that is much more natural to the digital natives.

But the digital natives also need role models. We need to set the example for the professional way to conduct ourselves through social media – it’s no different from the phone, which can also be misused at work or used to close a big deal. At the time of writing this book, only 19 per cent of Fortune 100 CEOs were on Facebook and only 13 were on LinkedIn. Today’s leaders must do more to demonstrate to the next generation of leaders how it is done.

You need to look to building and leveraging long-term partnerships, instead of burning bridges with spammy promotions. We are at the beginnings of cultivating an online army that will be with us for the rest of our lives.

The rest of our lives. Say that out loud and let it sink in. We have decades of social media to come in our lives. Start connecting the dots between where you are today

26dead brands www.thedrum.com JUL.20.12 THe drUM

For every new product on our supermarket shelves there are 10 consigned to the reject bin. But where do brands go to die? The Drum finds out...

FAILURE TO LAUNCHA

s any rocketeer will tell you, a successful launch is critical to success, but nowhere is that truism more appropriate than in the cut-throat world of marketing. Whilst it may not be rocket science, the division

between success and failure here is equally as stark.Step forward the Museum of Failed Products, an

anti-supermarket which occupies a niche spot at odds with the piped music, yellow lit, temples to consumer-ism we’re all familiar with.

Contrary to appearances, our supermarkets are awash with success; their shelves lined with products which have demonstrated their appeal to the masses and proven their ability to convince shoppers to part with their cash. But big brands, once ensconced, are difficult to dislodge, and paint a very incomplete pic-ture of the product ecosystem, which is where the Museum comes in.

Creation of Robert McMath, a former marketing man intent on creating a reference library of when consumer goods go bad, the storehouse in Ann Arbor, Michigan has been on the go since the 1960s when McMath (since followed by his successors at GfK Custom Re-search) started buying samples of every new product to come to market. As a sort of latter day Noah, McMath bought one of every single new product he could lay his hands on for the ultimate time capsule.

As the industry’s own benchmark failure rate of 90 per cent attests, this is literally a collection of rubbish, but McMath wasn’t off his shopping trolley. So expansive is his collection that the stock has since achieved a lustre brought by rarity it could never achieve in ubiquity.

The resulting graveyard of entombed plastic, card-board and paper still wears the jaunty optimism of ex-pected success on its sleeves. From the confident pri-mary colours of Kick, the caffeinated beer, to the smiling ‘Incre-Edibles’ family slurping microwaveable scram-bled eggs for perpetuity, these embalmed figures have achieved defacto immortality for their troubles, their plas-tic gravestones likely to outlast all but the hardiest non-biodegradable detritus for the next thousand years.

Where the storehouse succeeds is in finally making a success of these assorted failures by capturing the full diversity of the weird and wonderful creations dreamed up by product design businesses. It proves that the retail sphere is just as brutal as the natural world with the death, blood and decay evident in the natural world reflected in the cancellation, losses and pulping of the many abortive launch attempts.

Like present day anthropologists, modern market-ers are flocking to this grisly scene in a bid to avoid similar fate, spurred by the realisation that in order to be successful, you can’t just study success. But it isn’t simply because these items failed, it’s because their

backers were convinced they would be a success. Un-derstanding the wayward processes and flawed think-ing that gave birth to caffeinated beer means you’re best placed to avoid a similar pitfall – if we never learn from our mistakes, we are destined to repeat them.

Accentuating the positive qualities of his charge, the museum’s current custodian David Stanton, VP of marketing communications at GfK, told The Drum: “Our collection is not of ‘failed products’, but rather of innovations in packaging and marketing; we use it with clients for ideation and inspiration, and it includes many items that have been successful.” Half a century of acquisitions later and McMath’s magpie-like ten-dencies have paid off handsomely, it seems.

It is clear, though, that for all the lessons learned, fail-ure is still an option and if the museum is to avoid the fate which befell its contents over the next 50 years, it will need to diversify. In marketing, as in nature, not ev-eryone can be successful, but at least with the resource we can at least lower the odds of repeating mistakes.

By eschewing grand works of art for the humdrum detritus which litters our everyday lives, the museum in many ways speaks more tellingly about us as a so-ciety than the greatest works of a niche creative class ever could. Perhaps we would all benefit from a tour of these aisles of failure; we might just feel a bit more optimistic as a result.

0302

dead brands27 THe drUM JUL.20.12 www.thedrum.com

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01 & 02 Whole aisles devoted to failed pizza brands, including Pizza stuffers – pastry cases filled with toppings 03 Caffeinated beer brand Molson Kick failed to engage either beer drinkers or energy seekers 04 surprisingly enough, microwavable pre-scrambled eggs, sold in a cardboard tube, just didn’t take off 05 These self-heating soup cans had an unfortunate tendency to explode in people’s faces 06 & 07 Perhaps consumers didn’t like to be reminded of their oily hair, or maybe they just didn’t fancy smearing yoghurt on it 08 Pepsi aM contained more caffeine than average Pepsi but that didn’t encourage people to wash down their breakfast cereal with it

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LAST WORD30 THE DRUM JUL.20.12 www.thedrum.com

FOR MORE BLOGS GO TO THEDRUM.COM/OPINION

PR SILLY SEASON STUNTS WE SHOULD BANISH TO ROOM 101Tim Downs

We’re about to enter a delightful time of year where journos switch off and some PRs attempt to fl og any old guff to their clients, safe in the knowledge that the sun is shining and they’ll pretty much buy anything.

It’s where hard news goes out of the window and PRs take a trip to the cre-ative attic, throw the dust sheets off a few creaky old ideas and drag them blinking into the media spotlight.

Some give them a new lick of paint and parade them as the latest thinking. Others can’t even be bothered to do that.

Ladies and gentlemen, welcome to silly season.

You’ll recognise these ideas because, well, you’ve seen them a million times before and probably pitched or bought them yourself – 10 years ago. Hopefully you’re a little older and wiser now.

If you’re unsure of the ideas I mean, start to get nervous because there’s a chance that you’re still pitching them.

I’ll be giving a few top examples later (I hesitate to say a ‘top 10’ as these might also make the list) but, before I do, I want to identify when silly season starts. What heralds the arrival of this creative abyss?

Well, after the signifi cant and robust research of my navel, I can pinpoint that Royal Ascot and the mind-numbingly dated brand hat opens the offi cial fl ood-gates of this particular PR Room101.

Yes, this dead horse is still being fl ogged (pardon the pun). It’s 2012 and there was someone with a Subbuteo football pitch on their head, a Love

Last WordHeart emblazoned with the words ‘fi ne fi lly’, a fried breakfast and a giant Olym-pic Torch. Oh come on!

Why? Because it got coverage in the Baltimore Sun?

I have to hold my hands up and admit that I did this for a client in 2002 and it wasn’t new then. Ten years later, is this really a defendable use of a client’s budget? Does it drive sales, increase brand engagement, infl uence consum-ers in any way at all? No.

So this brings me on to some exam-ples that I and a number of my industry colleagues have already had the misfor-tune to see or expect to see over the next eight weeks.

1. Making a dress out of stuff other than normal material – generally includes vegetables, sweets, chocolate or even human hair (gag!).2. Same as above, but replace a dress with a piece of ‘art’. Haribo, you can do better than a portrait of the Queen made out of Starmix. Do you really need to raise brand awareness this way?3. Look-a-likes. I don’t think I need to say anymore, Poundland.4. Flash mobs. Can we just let the good people of London get to work without having to negotiate a co-ordinated dance routine, snog or talk like a pirate-a-thon?5. Reverse graffi ti or chalk drawings on pavements or some other such pave-ment art. Yes, they are impressive but another hilarious picture of someone pretending to fall off nothing does not make a successful PR campaign.

I’m stopping there but I know that you can think of a tonne more of your personal pet hates so feel free to share; be it dream jobs, that shot from American Beauty with the rose petals substituted for the ingredients of a limp salad, or the ubiquitous silly season surveys.

You may think that I’m saying you should never use these tactics again and actually I’m not (apart from the Ascot hat).

What I’m saying is, before you think about pitching or buying an idea like this, please ask yourself why and what

will it achieve. We can’t question why advertising agencies keep winning the big PR awards at Cannes Lions when this is what we produce.

These can still be useful when ap-proached with ambition, scale and a clear sense of purpose. But if you’re simply copying what went before be-cause it got good coverage, then give the rest of us a break. This summer is already wet enough without more damp squibs adding to the misery.

Share your PR pet hates on the origi-nal piece at thedrum.com/opinion

Tim Downs of Aberfield Communications has the last word this issue, taking umbrage at the same silly PR stunts being recycled every summer. Now, he says, it’s time to banish these unoriginal ideas into Room 101. For the chance to see your opinions in print send comment pieces to opinion@thedrum.com.

“WE CAN’T QUESTION WHY ADVERTISING AGENCIES KEEP WINNING THE BIG PR AWARDS AT CANNES LIONS WHEN THIS IS WHAT WE PRODUCE.”

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