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AdweekAdweek

Adweek June 3, 2019

The all-new Adweek features news and information for marketing, media and advertising professionals that you can’t find anywhere else. Each issue includes profiles and interviews with top newsmakers, critiques of hot ad campaigns, the latest trends in print, digital and advertising and much more.

國家/地區:
United States
語言:
English
出版商:
Adweek, LLC
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33 期號

本期

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the road to nextech

Adweek: What’s the biggest hurdle facing ad tech right now, in your opinion? Chris Kane: There are two challenges that are very closely linked to each other. The first is just the fragmentation of buying platforms. Google, Facebook, Twitter, Pinterest, Snapchat and Amazon are these walled gardens. Marketers who need to reach consumers are required to have at least half a dozen platforms to reach their market. And because of this platform fragmentation, marketers have no mechanism for unifying measurements across the whole internet. It’s a huge strategic issue, even for the biggest advertisers out there. What’s a trend that marketers need to approach differently? I do think there’s a lot of recent attention on supply chain optimization, with a lot of media buyers conducting strategic reviews of the supply chain and…

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in adweek history oct. 4, 1999

As Ronald McDonald and Gritty have shown, mascots can be creepy things. But sometimes, they can also be pure gold—as Jack in the Box discovered in 1994, when it resurrected the character of Jack. As Adweek (which is celebrating four decades of publication this year) reported in a 1999 feature, the stakes were high for the burger chain. The previous year, an E. coli outbreak in 73 restaurants had killed four and sent hundreds to the hospital. The company responded with a stringent food-safety regimen, but it needed a new public face. Agency Chiat\Day found it an old one instead: the clown that the burger chain had used since its 1951 founding, but had long since retired. The genius of the “Jack’s Back” campaign wasn’t just humor; it was casting…

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the ad industry has reached a breaking point. can it bounce back?

Would you work a full-time job for four months without being paid? Could you? “Once upon a time, the agency was the most important outside relationship most clients had,” said Bill Duggan, group evp for the Association of National Advertisers. That is no longer the case. Agency leaders, trade groups and CMOs have united in decrying the conditions of General Mills’ ongoing creative review, which include 120-day payment terms, “blind” briefs and complete ownership of creative concepts from winners and losers alike. General Mills, which declined to comment on the RFP, didn’t start this trend. Its approach mirrors that of other major advertisers—and the agencies that agreed to sign their contracts. “Trust between marketers and agencies is at an all-time low,” Duggan said, citing ANA member surveys. The leader of one prominent creative network, speaking…

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do unto others

To some ad agency vendors, these new contracts look awfully familiar. “They should not be surprised, because they have been enabling marketers in believing this approach could be realistic,” said Matt Miller, CEO of the Association of Independent Commercial Producers. He believes creative shops have effectively placed themselves “in the same bucket as production companies and other creative vendors” by agreeing to clients’ increasingly restrictive terms. Bernadette Rivero, president of production company The Cortez Brothers, added, “In the same way that General Mills is asking for agencies to pitch on an RFP, for free, and give up control of any of the creativity they bring to the table [also for free], ad agencies have routinely asked production companies for years to triple bid on branded content jobs.” A 2017 ANA survey revealed that…

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life-saving creative

In recent years, a burst of creativity from the industry has come from an unlikely source: organ donation nonprofits. From Japan to Peru, agencies from around the world are dreaming up imaginative, award-winning campaigns that all share a common goal: convince more people to become organ donors. Much of the work has cut through the noise and resulted in what is a decidedly straightforward metric of success: increased registration numbers. Perhaps one of the most notable campaigns came from The Martin Agency, known for its “World’s Biggest Asshole” spot on behalf of nonprofit Donate Life. The nearly three-minute video tells the story of Coleman Sweeney—a man whose moral compass is severely lacking—played by actor Thomas Jane. It’s only when Sweeney dies unexpectedly that he’s suddenly cast in a different light. The ad’s…

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three ways to ensure success

KNOW YOUR AUDIENCE If you have a specific demographic in mind, think about what they’re likely to respond to—even if it challenges category convention. Organ donation is a serious topic, but The Martin Agency’s “World’s Biggest Asshole” successfully incorporated humor in a way that struck a chord with its target: millennial men. GARNER EARNED MEDIA Knowing that speeding tickets are universally hated, Casanova//McCann found a clever way to reward pulled-over drivers who are organ donors: let them go scot-free, just once, as a thank you for registering. The stunt made headlines, and surely piqued the interest of non-donors. PLAY OFF POP CULTURE Blending advertising and entertainment can be risky business, but Circus Grey managed to do it by working a dramatic organ donation storyline into not one, but two, Peruvian soap operas. In a country…

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