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12 Candy the crusher The head of IBM’s digital agency looks to shake up the industry.

15 Retailers get tech savvy Some of the smart shops who are making technology work for them.

18 BBC Two turns 50A look back at some of BBC Two’s groundbreaking idents.

THE DRUM 16.APR.14 www.thedrum.com insiDE03

16 April 2014

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Cover image featuring artwork from Martin Creed’s retrospective shot by photographer Julian Hanford(www. julianhanford.com)

54 The Last Word Malcolm White of Krow sees us out this issue, sharing his philosophy that, for agencies, negative people can be just as useful as positive people.

22 We are all artists now Julian Hanford looks at the work of Martin Creed, comparing what the Turner Prize-winning artist does with his art to what advertisers do with theirs.

VOLUME #35 issUE #08

27 Creative WorksThe best new creative work from around the world.

33 Data and analytics A look at the latest happenings in the world of data and analytics.

50 The Drum Network Tina Judic on upcoming plans for her agency, Found.

TD_35_08_APR16_CONTENTS.indd 3 11/04/2014 15:48

Nobody ever achieved greatness with half measures. In business, or in life. So when you decide it’s time to step up a gear and realise your agency’s true potential, you can’t let anything hold you back. And that means having a firm grip on the figures, a clear view of job profitability and a watertight project management system. Ensuring your people have all the information to hand to make the right decisions, fast.

Synergist can give you all this – and because it’s completely scalable, it will grow as you do. You can take your business from good to great. Synergist can help you make it happen.

See our latest agency stories at synergist.co.uk

For agencies with ambition

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THE DRUM 16.APR.14 www.thedrum.com LEADER05

Editor: Gordon Young Associate Editor & MD of The Drum Network: Richard Draycott Editor-at-Large: Dave Birss Magazine Editor: Thomas O’Neill Features Editor: Katie McQuater Online Editor: Stephen Lepitak Commissioning Editor: Cameron Clarke News Editor: Jessica Davies Reporters: Gillian West, Jen Faull, Angela Haggerty Research Journalist: Sam Scott Staff Writer: Natalie Mortimer Social Media Manager: Ishbel Macleod Editorial Assistant: Karyn Dougan Design & Production Director: Nick Creed Design/Production: Amanda Dewar, Ross Lesley-Bayne Group Commercial Director: Liz Hamilton Business Development Manager: James McGowan Directory Sales: Stephen Young Recruitment Sales: Tehmeena Latif Subscription Sales: Laura Bradley Events Director: Lynn Lester Events Manager: Katy Thomson Managing Director: Diane Young Head of Content Solutions: Andy Oakes Printed by: Stephens & George Magazines Head Office: 4th Floor, Mercat Building, 26 Gallowgate, Glasgow G1 5AB London Office: Lower Gound Floor, Victoria House, 64 Paul Street, London EC2A 4NG Tel: +44 (0)141 552 5858 Fax: +44 (0)141 559 6050

THE DRUM is published by Carnyx Group Limited. The publishers, authors and printers cannot accept liability for any errors or omissions. Any 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 2014 iSSn 2046-0635

meet the team THE ARTisT, THE coMic AnD THE nEwsREADEROn the face of it, Martin Creed, Henry Normal and Krishnan Guru-Murthy are three of

the most unlikely people to turn to if you want to learn about today’s marketing industry.

And yet in this issue you’ll find that the artist, the comic and the newsreader can tell us

more about our world than a hundred ‘industry sages’ at Advertising Week ever could.

Let’s start with Creed, whose brilliant, bonkers brain we delve into in our cover story on page

22. We set off to his landmark exhibition with the intention of repainting the artist as an adman.

Could Creed’s imagination translate to an increasingly unthreatening commercial world?

Well, it’s safe to say you’re unlikely to see his piece ‘Sick and Shit’ on a billboard near you

any time soon, but what Creed’s exhibition reminded us was how art can jolt us out of the

mundanity of everyday life. He achieves what marketers seek every day: attention, or as we like

to call it now, cut-through.

Of late, there has been a growing assumption that for marketers to achieve cut-through, they

must reinvest their advertising budgets in what is loosely being described as content marketing.

The oft repeated refrain is that rather than compelling people to watch something (as they’ve

always done with advertising) advertisers should be making things consumers actually want to

seek out themselves instead. And yet what becomes apparent at all the festivals we attend is

that while everybody is talking about content marketing – and we do mean everyone – very few

are actually doing it. Even fewer are doing it well.

The Red Bull Stratos jump from the edge of space was 18 months ago, and yet the branded

content world has barely turned since. Red Bull is still the top of every Powerpoint presentation,

still the brand every speaker references. If content marketing is so great, why have we so few

reference points?

On pages six and seven, you’ll find Guru-Murthy and Normal urging advertisers to start

putting their money where their mouths are and investing in true quality content.

Normal, a comedy producer who can boast a remarkable body of work – Alan Partridge,

Gavin & Stacey, the Royle Family – to his unremarkable name, reveals something incredibly

surprising. Despite his comedy factory Baby Cow being behind arguably the most successful

branded content tie-in of recent times (after Stratos), the Foster’s backed Alan Partridge web-

series Mid Morning Matters, he is seldom, if ever, approached by brands. At Advertising Week,

he practically begged the audience to pick up the phone to him.

Guru-Murthy was similarly insistent: “You’ve got these brands who’ve got huge advertising

budgets; if they actually took some of that budget and made content, whether it’s drama or

music or comedy or whatever it might be, instead of an advert, I think we might start thinking of

brands differently.”

Instead, we see most brands as unimaginative, ploughing the same, comforting furrow they

always have. Creed’s exhibition asks us ‘What’s the point?’ Most brands could ask themselves

the same question.

THoMAs o’nEiLLMAGAZINE EDITOR [email protected]

PPA:• Business Magazine of the Year 2013

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www.thedrum.com 16.APR.14 THE DRUM06AGENDA

advertising week europe

Advertisers should use budgets to make content, not ads

Broadcaster Krishnan Guru-Murthy wants to see brands invest some of their huge advertising budgets into short-form video to create content that is not merely an ad.

“Social media and the people on it are very sophisticated, and they do not like to be obviously sold the way a lot of brands would like, and the way they used to in terms of old fashioned television spot advertising. And so you’ve got to think much more cleverly about what kind of content you are thinking of commissioning,” said the Channel 4 presenter.

His comments came after he hopped in the back of The Drum’s branded Advertising Week Europe taxi cab following a session he chaired looking at why brands should be spending more on short-form.

Summarising his key takeaways from the session, Guru-Murthy explained that consumers are becoming much savvier about how brands communicate with them, especially across social media, and the hard sell is no longer a tactic that will work – they want to be entertained.

“People know when it’s just an obvious sell job and they don’t like it. They don’t mind being sold to or things being sponsored if ‘I’m being entertained, or you’re making me laugh’. It’s just the kind of obvious ‘can I get some of that money in your pocket’ people don’t like.”

He highlighted the work of Bombay Sapphire – which recently won a Bafta for its branded content competition encouraging people create their own films – saying that the short videos that resulted from the competition were “something that you want your brand to sponsor”.

Speaking about Channel 4’s approach, Guru-Murthy said that 4OD have a new proposition called The Shorts where content will be commissioned for brands through a dedicated team.

“It is a very interesting proposition because that is people who normally make just ordinary funded television who are now going to get involved in some way of the editorial or creative process of advertiser funded content.”

When asked whether he has any concern about the blurring of editorial and commercial lines, he admitted

Krishnan Guru-Murthy hops into the back of The Drum’s taxi during Advertising Week Europe to talk short-form video, how consumers are getting much more savvy to the ways brands communicate with them, and why the hard sell is no longer a valid option. Entertaining content is the way ahead, he says.

it is difficult to predict how it will be judged both internally and by the public, but it is a risk worth taking.

“We’ve just got to kind of watch it and see how it evolves and when we don’t like it we’ll know and the public will go, ‘no we didn’t like that don’t do it again’. There are lots of opportunities here but we aren’t sure how it’s going to pan out. Which is why short-form content is quite a good place to make mistakes: it doesn’t cost you that much, you can try different things and see what

works and what doesn’t.”As The Drum’s taxi cab neared

Guru-Murthy’s West London home, he ended by urging more brands to invest in short-form content.

“You’ve got these brands who’ve got huge advertising budgets; if they actually took some of that budget and made content, whether its drama or music or comedy or whatever it might be, instead of an advert, that’s quite an interesting idea I think and we might start thinking of brands differently.”

Jen Faull caught up with Channel 4’s Guru-Murthy in the back of The Drum’s taxi.

Watch the full interview at po.st/ot0uPr

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THE DRUM 16.APR.14 www.thedrum.com AGENDA07


Brands looking to team up with bands and artists need a “music strategy at heart” according to Jack Milligan, head of branded experiences at Spotify.

Milligan said that in order for brands to approach a tie-up within the music industry they should have a strategy employed in the long-term as opposed to a one-off collaboration. “Brands need to do something that continues so they can get so much more out of it,” he said. “The more the artist gets behind it the more engagement you see.”

Charles Fitzgerald, head of artist partnerships at record label PIAS, agreed, adding that old brand/artist relationships were previously seen as an “easy route” in, simply bringing an artist on board to endorse the brand. “A strategy is so much more important and coming up with creative, 360 ideas around that strategy. The audience can see though it when it’s not authentic.”

He added that it’s not just about “plastering a face” on a brand and that brands should use the opportunities around live tours to interact with fans and capture data.

Asked if the end is nigh for ad supported free content, Spotify’s European VP Chris Maples vehemently disagreed and said that he doesn’t see the business model changing.

“The reason Spotify exists is because of the enormous impact music piracy had. Since we launched in Sweden music piracy has declined by over 25 per cent. The free model is front and centre of what we do. The free mobile service that we launched in December has had an enormous impact on our customers”.

TV comedy has a problem and advertisers can solve it

For all that ‘branded content’ and ‘storytelling’ have become industry buzzwords, one of the UK’s most successful comedy producers has urged advertisers to put their money where their mouths are and invest more in quality programming.

Henry Normal, whose production company Baby Cow was behind TV hits such as Gavin & Stacey, The Trip and The Mighty Boosh, told an audience at Advertising Week Europe that surprisingly few brands approach him about working together on content.

“We’ve got a problem with scripted comedy,” Normal said. “The budgets are getting less and less. 14 years ago when we made our first show for the BBC, Human Remains, we were getting more than we get today.

“We need advertisers’ help to solve that problem. All the programmes we’ve ever made, I don’t see why there shouldn’t be advertising in them. I’d put ads in them now.

“But in 14 years I’ve hardly spoken to any advertising people whatsoever. It would be great to talk. My door is always open.”

Baby Cow Productions’ Henry Normal urges advertisers to put their money where their mouths are and invest more in quality programming as he reveals that very few brands approach him about working together on content, despite his door always being open.


According to Normal, it is not just advertisers who have been slow to capitalise on content marketing and product placement, but also the television networks.

“It is being done very aggressively in cinema but TV is quite reticent,” he said.

“If you look at ITV at the moment the only product placement they’ve really got is in Coronation Street. It’s very limited. They are afraid of upsetting people I think.

“We’ve done three ad-funded shows in 14 years. In the next 14 years I’d love all our shows to be funded by ads.”

Instead of seeing content marketing as a quick-fix, Normal encouraged advertisers to play the long game and invest in quality shows that will have lasting appeal.

“Imagine if you put an ad for Walkers Crisps in Fawlty Towers, Only Fools and Horses or Dad’s Army. You’d have had a lasting campaign seen by millions.”

At the session, hosted by UM Studios, Normal was asked whether all brands should consider content marketing and, if so, how they should take their first steps.

He responded: “There’s a million

Brands need a “music strategy at heart” when teaming with bandsSpotify’s Jack Milligan says for brands to tie up with bands and artists, they need long-term strategies rather than one-off collaborations.

stories. As long as it’s a good story, it doesn’t matter what the brand is. With discussion we can find a story that fits the brand and a brand that fits the story.

“It’s all about trust. You’ve got to go to a producer you trust and trust them to do it.

“If you sell a programme to Sky or the BBC they trust you to do it. They don’t watch over us all the time. If you fuck up they don’t come to you again, so you don’t fuck up.”

One of the few advertisers to have sought out Baby Cow is Foster’s, the lager brand which bankrolled the return of Alan Partridge in the web series Mid Morning Matters, and ultimately gave the character a new lease of life.

“Foster’s came to us and said what have you got,” Normal recalled. “We had a problem and they solved it.” From there, Alan Partridge returned to TV screens with two original Sky commissions and the North Norfolk Digital DJ then made his big screen debut in Alpha Papa.

Normal revealed that one of Baby Cow’s latest commissions is to produce a film about the tennis star turned fashion trailblazer Fred Perry.


are better together

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We want the next Mark Zuckerberg to be femaleBelinda Parmar says distorted perceptions of people with tech-centric careers is putting young women off getting into the industry.

There are still woefully few women in senior roles within technology-driven businesses, and that must change, according to Lady Geek CEO and Little Miss Geek founder Belinda Parmar.

Speaking on the panel titled Inspired Conversations – Why Women Really Rule the Tech World, Parmar said: “We want the next the next Mark Zuckerberg to be female.”

However, she said young people’s perception of people whose careers are technology-centric is distorted in a way which is preventing females from choosing courses which can lead to technology-focused roles.

“We work with a lot of young girls who we want to be technologists, but the perception of someone who works in technology is a pizza-guzzling nerd who can’t get a girlfriend. That perception is prevalent in our secondary schools, and that is affecting the pipeline,” she said.

She referred to the fact that only 245 girls took an A-level in technology last year in the UK, compared to over 5,000 who took Spanish. “It just doesn’t have the same status as it does in other countries,” she added.

She also said it is important to question whether companies actually offer the kinds of environments in which women in tech roles can flourish.

“If I ask them ‘is this a great place to work for women?’ they will often reply ‘actually we have just updated our maternity policy’. But what I really mean is – is it a place where women feel they can get their voices heard and feel comfortable in and can flourish?” she added.


Catholic church has been “selling death” for years

The Catholic church has been “selling death” for thousands of years and now boasts an “excellent market position”, according to Enlightened Tobacco Company founder BJ Cunningham.

As part of the Taking Stock of Shock panel at Advertising Week Europe, Cunningham spoke of the controversy surrounding his own product – an additive-free cigarette brand called Death.

He said the marketing activity around the brand was aimed at “galvanising” opinion, kick-starting conversations around it, whether positive or not.

“The one thing you’re not meant to mention in marketing is religion, but my view is the Catholic church has been selling death for thousands of years and they have an excellent market position, with a great logo and retail outlets all over the world. A great example of branding and marketing,” he said.

When citing the different tactics used to promote its products without much of a marketing budget, Cunningham said the aim wasn’t just to shock, but to fuel debate.

“Branding is about virtual bonfire building. We are all sticking our stories

on that fire like logs, and the brighter that fire burns the more likely people are to come to your bonfire and listening to your story.”

However, he warned against traditional brands deploying shock as a tactic for the sake of it, adding that shock is the “fire starter” for the bonfire, rather than the bonfire itself.

Fellow panellist John Jessup, the former creative director at Leo Burnett, referenced his old agency’s work for Virgin owner Richard Branson, who used to encourage them to push the boundaries when it came to winding up rivals and creating controversial ads.

One of the results of this encouragement was an ad featuring a picture of Saddam Hussein and the line ‘Visit the USA before the USA visits you. Only £220.’

According to Jessup, Branson loved the ad but it had to be shelved due to its timing conflicting with the Gulf War.

“Although we didn’t use it, Branson used to show it as an example to people as the kind of work he wanted to see more of ... At the time he was challenger brand, so that was his way of surviving. You don’t have to be rude or vulgar – but you must be smart and make people think,” added Jessup.

BJ Cunningham, the man behind the cigarette brand that once promised to refund your money if the product didn’t kill you, joined a panel arguing that shock is a valid tool for advertisers, pointing out that his wasn’t the first brand to make a virtue of selling death.

In today’s content-cluttered landscape young people are increasingly expecting brands to stand out, which will result in an overall push in the amount of shock marketing activity from brands, according to Jessup.

“Kids are taking all sorts of risks to get themselves noticed these days and they expect brands to be taking similar risks. Businesses are having to take more and more risks to get noticed by young people – so I think we will see more stunts from brands looking to draw attention,” he predicted.

Also on the panel, Manifest managing director Alex Myers said shock advertising is all about “finding an enemy and shooting it down”. Having been the retained agency partner for BrewDog for the past four years, Myers said using shock tactics can help brands punch above their weight and take on some of the bigger players more effectively.

He said Manifest and BrewDog had set out to overhaul the image of the beer industry to move away from the previous image of “fizzy yellow lager” and directed much of its marketing toward dispelling the “lies” told by other “mainstream” beer brands.

Death Cigarette’s BJ Cunningham on the Taking Stock of Shock panel, between The Drum’s editor

Gordon Young and editor-at-large Dave Birss


www.thedrum.com 16.APR.14 THE DRUM10AGENDA

digital mobile

What surge in mobile ad spend means for brandsWith fresh figures from the IAB showing ad spend on tablet up 400 per cent and spend on mobile almost doubled, The Drum catches up with some industry experts to find out what this means.

Iain Matthews, head of planning, JamA data planner in our team at Jam confessed that they

recently pinched a physical newspaper article in an attempt to zoom in to the text. What better illustration that tablets have changed human behaviours? From a brand perspective they have taken the attention of TV viewers further from the main screen, making it harder for brands to get the attention of the audience. By contrast they’ve actually increased the total amount of media being consumed which has created more opportunities for brands to communicate with their audiences on a personal level. By implication it’s more important than ever before that brands create experiences and content that people actively want to engage with, rather than seeking to interrupt them with brand messages.

Catherine Cherry, marketing director, UK and Ireland, Sony MobileMobiles and tablets provide

an immediate way for consumers to respond to offline advertisements and this opens up great opportunities for brands to increase engagement and accelerate the path to purchase. For example, the number of searches for a brand often peaks during a TV ad for that brand and this is a key moment to engage with a ‘warm’ consumer. Multi-tasking while watching TV has become second-nature for most people and the figures released by the IAB show how important it is that brands have content that is designed for tablets as well as mobile phones.

Tablet ownership up 63% as UK digital ad spend hits record £6.3bnThe Internet Advertising Bureau UK (IAB) has published its latest Digital Adspend report. We take a look at some of the key findings from the past year.



mobile retail

mobile retail

20 per cent purchase elsewhere after browsing on mobile in-store

A study by affiliate network Tradedoubler has confirmed that the smartphone is a key influencer on in-store purchasing behaviour.

The research, conducted across nine countries with 4,500 participants, found that a fifth of consumers (20 per cent) decided to purchase products elsewhere after viewing the product on their mobile while browsing in-store. 20 per cent change their mind about buying it at all. Meanwhile, just 19 per cent buy the product from the store they are in.

“Our research demonstrates that the smartphone clearly influences consumers’ in-store shopping behaviour, with more than half of shoppers changing the way they have bought something as a result of using a smartphone,” said Dan Cohen, regional director UK and Ireland at Tradedoubler.

“Despite this, it is clear that many

Research from a leading affiliate network has highlighted the role the smartphone can play in disrupting the path to purchase.

high street stores with a physical presence are still failing to provide a seamless and fully integrated omnichannel experience for consumers, which is why both on and offline competitors are still managing to influence shoppers even while in-store.

“Retailers need to remember that a smartphone-using consumer in their store is someone who is already interested in making a purchase from them. By providing targeted online offers, vouchers or coupons that can be redeemed in-store, they can help ensure in-store mobile consumers are converted to in-store customers.”

Simon Hathaway, head of retail

experience at Cheil, commented:“My grandmother was a shopkeeper

and told me that people will always ‘shop around’. Today we have mobile devices and e-commerce, which makes that quicker and easier – and we can do it anywhere, even in-store. The significant factor about the rise of mobile in shopping is that it is changing the value equation; it used to be that value = price x quality. Mobile means it is now (price x quality) ÷ convenience. That is the challenge for retailers.”

We take a look at five retailers integrating digital into the in-store experience on page 15.

UK shoppers underwhelmed by retailers’ tablet adoption

Only 10 per cent of British shoppers have seen or experienced tablets in-store, according to research.

Tech-savvy consumers are increasingly frustrated by the slow rate of adoption of new technologies amongst retailers as their home environments continue to diverge from the shop floor.

Whilst at home the average household now plays host to more than three types of internet enabled device, on the high street it is a very different situation.

A survey of over 2,000 UK adults conducted by Omnico Group found that a paltry 10 per cent of British shoppers had encountered a tablet when checking

stock or making a payment, contrasting markedly with the experiences on offer in the home – from smart TVs, tablets, e-readers and laptops to smartphones.

Quizzed on what they wanted to see from retailers over 50 per cent cited sales assistants equipped with tablets to check in-store inventory and stock levels in nearby outlets. Of those polled 52 per cent also wanted access to a tablet to elicit when stock would be replenished and 24 per cent also wished for easy payment methods through such gadgets.

Open for entry for 2014, the Dadis (The Drum Awards for the Digital Industries), in association with Synergist and sponsored by Kingston Smith W1 and Unanimis, is the UK’s premier digital awards, celebrating and rewarding digital effectiveness and excellence. There are 26 categories to enter this year, covering all areas of digital, from search and mobile, to technical innovation, social, usability, video and beyond. The deadline for entries is 30 May and entries should be made at dadiawards.com.

Tickets are on sale for this year’s The Drum Marketing Awards. Join us on 8 May at the Marriott Gros-venor Square to hear the results and mingle with the cream of the marketing crop. Visit thedrum-marketingawards.com for more information and to book tickets.

Tickets are now on sale for this year’s Roses Creative Awards in association with Melbourne. The ceremony will take place on Thursday 15 May in the Mercure Hotel in Manchester, where the most creative talent in the regions will gather to see who has won gold, silver or bronze. For the shortlist and to book tickets, please visit rosescreativeawards.com

Nominations have now been revealed for the Scottish Design Awards, but who will be crowned the best of Scotland’s design and architecture industry? Find out at our black tie awards dinner on 5 June at the Radisson Blu Hotel, Glasgow. Tickets and tables are available to book via the website scottishdesignawards.com

eVeNtS

pHOTOGRApHy: ROBeRT SCOBle

pHOTOGRApHy: KAROlA RIeGleR


www.thedrum.com 16.APR.14 THE DRUM12DisRUpTion

IBM’s newly badged agency, Interactive Experience, headed up by Matt Candy and ranked the third biggest digital shop in the world, has unleashed an aggressive growth drive and looks poised to disrupt the digital advertising landscape, as Jessica Davies finds out.

Candy the Crusher

Known until recently as IBM Interactive and ranked the third biggest digital agency in the world by Gartner, IBM’s Interactive Experience is pouring $100m into expanding its data, digital and design consulting practice – a move boss Matt Candy believes it must make if it’s to keep in step with clients’ increasingly sophisticated digital and data demands.

“Interactive Experience is the formal fusion of strategy, data and design, which we believe is a differentiator in the market,” Candy tells The Drum.

The concept behind the new business strategy is to combine “how you engage with your customers and the type of experiences you want to create,” as well as “use of data and how you infuse insights into those experiences,” and, most importantly, “the design of those front-end experiences – one of the de facto elements of delivering value”.

“We are fusing those things together,” says Candy. “That’s where we feel the market is going.”

He admits this is likely to widen its previous competitor set, adding that it is increasingly coming up against the likes of SapientNitro and Razorfish in pitches, and “in some cases winning against them”.

Agencies have until now been champions of building “beautiful” experiences for clients, which has increasingly involved trying to build in that digital, data-driven capability. “But that’s no longer good enough,” argues Candy. “It needs to be fused into the back-end systems – that’s what clients want and need, and that’s putting pressure on them.”

Candy cites examples of heavy-duty digital experiences that IBM Interactive created for clients including Wimbledon, which it has retained as a partner for 25 years. Last year it created an iPad app designed to offer the 800 million viewers who follow the tournament but can’t attend a virtual experience of the stadium, matches and players.

“With the likes of that you’re doing something that goes from no volume to huge volume in a very short space of time. On the iPad we delivered real-time,

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THE DRUM 16.APR.14 www.thedrum.com DisRUpTion13

virtual walk-through, so you could hold it up and walk the corridors of Wimbledon, and take the route players take out to court.

“We had videos with 80,000 high-definition images in there and analysed about eight years’ worth of grand slam tennis data – 41m playing points – to build massively individual pictures of players like Roger Federer and Andy Murray. That included every game they have ever played against other players – how that game has progressed when they have served three backhands against that specific player, for example – then surfaced that back in real-time during the game in this second screen experience to allow fans to immerse themselves even further.”

A project like that must be “absolutely bullet proof”, and that is where IBM can truly excel – at building digital experiences at scale for brands, according to Candy. And it’s not just about the data pulled in to create experiences, such as with Wimbeldon; there’s also the data that can be gleaned from how people choose to interact with something, and this provides opportunities for brands to be even more compelling, says Candy .

For Jaguar Land Rover it created a virtual car showroom to show potential customers a wider range of cars than was physically possible. It enables people to configure their car online or on their mobile devices and then, when they visit the dealership, their car will drive in, rendered in real-time 3D.

“You can then interact with the car like Tom Cruise in Minority Report,” adds Candy. “You can pop the hood and take a look at the engine, and play with the sat nav – it brings to life experience and integrates physical and digital.”

But this “interaction data” is where it gets really interesting, he divulges.

“You can see where they are spending their time, and what they are interacting with, to get a more individual picture of what is uniquely interesting to that person. Then you can meld that with the data you already have to deliver a more tailored content experience when they next go to the website.”

There are also grand plans in place for drawing the capabilities of IBM’s artificial intelligence engine, Watson, which has had its own division since January, into Interactive Experience’s output. The New York Interactive Experience lab, which recently launched as part of the $100m investment plans, will be situated on the same site as the Watson division.

Candy describes the launch of the Watson division as "one of the three most significant things we have

done in our 103-year history,” adding that Interactive Experience will be guiding clients around the transformations that would come from implementing Watson-type capabilities – the insight and analytics that will come from it, to being able to feed the technology with the different data sources and creating untold experiences.

Candy is quick to recognise, however, that the company must work hard to promote the creative side of its business if it is ensure it can compete with agencies in the creative landscape. “Our challenge will be to shift clients’ perception of us,” he acknowledges.

Perceptions are key in this business, and if IBM can convince clients of its creative prowess as well as having Watson in its armoury, its position as one of the world’s top three digital agencies will no longer be such a big surprise.

“THERE aRE gRanD plans in placE foR DRawing THE capabiliTiEs of ibM’s aRTificial inTElligEncE EnginE waTson inTo inTERacTivE ExpERiEncE’s oUTpUT.”

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THE DRUM 16.APR.14 www.thedrum.com SMART SHOPS15

Showrooming has for some time now threatened to bring the curtain down on the high street as we know it, but rather than see technology as their nemesis, savvy retailers are looking to it to deliver a refreshed and more engaging shopper experience. Mark Broughton, strategy and planning partner at integrated agency Life, looks at five retailers making tech work for them.

RETAIL REVOLUTION

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www.thedrum.com 16.APR.14 THE DRUM16SMART SHOPS

AudiAudi City is a multi-sensory experience that allows car buyers to create and interact with virtual vehicles. With limited space in its Piccadilly showroom, but plenty of high net worth individuals in the vicinity, it created an immersive and personalised way to engage visitors. The main floor has touchscreens to browse the range, while floor to ceiling screens surround the room to view the cars full size. The showroom even has a top-end sound system to realistically convey the throaty roar of the engine.

Upstairs is all about play, but downstairs those serious about making a purchase can fully spec out their car. The environment is softer and more conducive to closing the deal, with expert sales people to hand. Throughout, cars and specifications are stored on wireless memory keys, with QR codes generated to link with the Audi website ensuring consumer data is consistent across the channels.

The experience is seamless, multi-sensory, and highly engaging, and has led to a 70 per cent increase in sales, with 60 per cent of buyers new to the brand.

Sunglass HutSome sales are triggered days or even weeks after the interaction in-store, and digital can extend the shopping experience and act as a prompt. In a store that struggles to convert the high footfall on Oxford Street, Sunglass Hut has implemented cameras that enable social sharing for people trying glasses on. This fun and interactive feature encourages shoppers to try lots of glasses on and find the right pair for them.

The service also allows shoppers to email the snap to themselves or a friend, hopefully triggering a purchase at some point in the future. It is a simple and obvious idea that demonstrates that technology does not have to be especially state of the art to have a positive effect – the kiosks were first introduced in 2009.

Sunglass Hut zeroed in on the fact that shopping for glasses is one of the times when you really value somebody else’s opinion. By implementing a simple social sharing functionality through its Social Sun photo kiosks, it makes shopping a more fun and memorable experience.

BurberryBurberry is one of the key fashion players to have leapt on the possibilities of technology. Its online presence and imaginative digital marketing have been an important part in its revival as a brand. Physical retail can appear to be a separate experience with some brands, but bringing them together adds to the sum of their parts.

Having created one of the most immersive online retail sites in Burberry.com, the brand took on the challenge of integrating its content with a new retail space on Regent Street. The store is home to a host of digital features, including products that trigger video screens, audio-visual experiences and digital mirrors where customers can snap themselves.

Content is important to Burberry and the store serves as a stage on which its brand can be displayed with the galleried main space a focus for events. Burberry is also able to stream fashion events live to the store, bringing London and New York fashion weeks closer to shoppers, and reinforcing the credentials of the brand. Staff are armed with iPads that enable them to quickly check stock availability and make orders.

McQ (by Alexander McQueen)When high-end fashion outlet McQ opened a flagship on one of London’s most prestigious shopping strips, Dover Street, it built in technology when it was being fitted out. With fashion shows and look books so important in selling high fashion, McQ has made the most of the technology available, creating an immersive experience to showcase its collections. Frames and objects can be placed on a large touchscreen table which activates videos and slideshows of items. Some store’s displays can feel aimless and unnecessary, but the use of physical objects on a digital screen creates a playful and purposeful display where the impressive technology surprises and delights shoppers.

The interactive table allows customers to search, see and share past McQ shows and catwalk looks, or control an imposing video wall in the store’s entrance. Floor-length mirrors include in-built cameras, enabling customers to take pictures of themselves trying on clothes, which they can then email to their friends.

Unlike many stores where technology is under-used, staff here are fully trained in the technology available. However, the emphasis is on letting the customer explore by themselves, thus enabling a deeper engagement with the high-end products. Shoppers can explore detail of garments and pull out elements of the collection to view without having to search the whole store.


THE DRUM 16.APR.14 www.thedrum.com SMART SHOPS17

InamoWe’re all used to the trend of uploading pictures of our meals and sharing them using sites and apps such as Instagram. It’s often said that we eat first with our eyes – and this is an idea that Oriental fusion restaurant Inamo takes to the limit. This fun, unique dining concept creates a social, novel experience that has applications beyond the hospitality industry. Visitors browse through menus that are projected on to tabletops, with dishes beamed directly on to the plates to bring the choice to life.

Tabletops can be changed to personalise the ambience, while a webcam of the kitchen can be shown to see your food being prepared. The tabletop can also be used to explore the Soho area and even to order a taxi home. The lack of human interaction in the ordering process feels slightly unnatural and isn’t without its challenges if you have some questions about the menu. However, it also makes for a more relaxing experience as you can order at your own pace without the maître d’ tapping his foot at indecisive diners. It’s an interesting insight into how we could be ordering food and viewing products in future.

Burberry’s Regent Street store integrates technology with the in-store retail experience

An interactive table at McQ by Alexander McQueen enables shoppers to search and share previous

catwalk shows and looks

Interactive touchscreens at Audi City

Digital tabletops at Oriental restaurant Inamo


www.thedrum.com 16.APR.14 THE DRUM18bbc Two TURns 50

...is THE Magic nUMbER

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THE DRUM 16.APR.14 www.thedrum.com bbc Two TURns 5019

The UK’s third ever TV channel, the first in Europe to regularly transmit in colour, and the first in Britain to adopt a computer-generated channel identification; BBC Two has been making TV history ever since its launch in 1964. As the station celebrates half a century, The Drum looks back at some of the best idents from its 50-year history and catches up with one of the designers behind a few of its most memorable symbols.

Celia Chapman, executive creative director of Lambie-Nairn and co-designer of the legendary ‘2’ symbols, tells The Drum how she and Martin Lambie-Nairn created the identity for the BBC back in 1991.

Back in 1991 when the iconic BBC Two idents hit the screen, nothing like them had ever been seen before.

Traditionally channels had identified themselves in many different ways – remember the Anglia Heraldic Knight, said to have been bought by the chairman on a whim (he saw the Victorian horse racing trophy in a posh west end jewellers when driving down Bond Street)? His purchase found purpose on that wobbly turntable – why didn't someone fix that?

The 90s saw most channels following the groundbreaking style of the Channel 4 identity, launched some nine years earlier. Computer generated logos proliferated before the introduction of that simple Gill Sans numeral.

At the time BBC Two was airing some of the nation’s favourite programmes, but the audience didn’t credit it with delivering the likes of The

Young Ones. Research showed that the channel was seen as a very worthy service, thanks to all that Open University stuff through the night. But, disastrously, it was also seen as dull.

Controller Alan Yentob recognised that the existing identity was singularly unmemorable and commissioned Lambie-Nairn to come up with something new, different and memorable.

That’s where that ‘2’ came in. Why was it chosen over all other ‘2’s? Because it was distinctive, it had sharp edges and a lot of surface area. This provided space for things to happen to it, and things did happen to it – it had paint thrown at it, it was dropped into paint powder, it was made from copper, paper, neon, and glass. It had fireworks attached to it, and it even become a performing dog.

At launch there were 10 idents designed to do a generic job – it was only later that the idents developed and evolved to become able to address specific audiences (BBC Two Fly Zapper for the Friday Late Night Comedy Zone) or specific programmes (BBC Two Remote Control Car for Top Gear).

So how were those mini masterpieces achieved? All the early idents were shot live action with models and rigs. Yards of silk, gallons of paint and acres of wobbly boards were needed. Some of the rigs didn’t quite deliver – it was some time before a model maker realised that the best way to get the paint to hit the two consistently was to put it on its side and drop paint from a great height – obvious, isn’t it?

Six months after launch, research showed that viewers’ opinions had changed; gone were words like ‘worthy’ and ‘dull’, and in came ‘sophisticated’, ‘witty’, ‘amusing’ and ‘engaging’, and all without a change of programming.

So did Yentob think the brief had been fulfilled? He was heard to say that the ‘2’s contract was one that he would be renewing – and that’s exactly what happened. The ‘2’ is one of the channel’s longest serving stars.

The ‘2’ as a personality retired in 2007, but even now the channel identity still uses that fat, sharp-edged little numeral.

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01

02 03

04

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BBC Two marketing manager Nicholas Rogers provides us with a brief history of the ‘2’ as he chooses his 10 favourite idents from the channel’s 50 year history:

01. 1964 BBC2 symbol: used for the launch of the channel, with its animation and music it felt quite modern for its time

02. 1968 symbol: the channel’s first colour ident

03. 1979 symbol: the world’s first ident to be transmitted straight from a computer, animating as it went to air

04. 1991, Paint: very memorable, but also ‘2’ beginning to have a sense of humour, with an opposite version where ‘2’s are thrown at a paint bucket

05. 1995, Christmas symbol: also showing a humorous side, this time featuring Aardman’s Wallace and Gromit

06. 2000, The Simpsons: specially commissioned for The Simpsons night. Symbols were often commissioned for one-off themed evenings, especially in the late 90s, e.g. Red Dwarf night, Monster night, I love 70s night, Star Trek night, scary film season

07. 2000, Predator: AKA Venus Fly Trap

08. 2000, Kebab

09. 2001, Fire

10. 2004, 40th anniversary symbol: flashes of past symbols through the ‘2’

10 of THE bEsT fRoM 50 yEaRs

of ‘2’s

05

06 07

08

1009

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www.thedrum.com 16.APR.14 THE DRUM22covER sToRy

All photography by Julian Hanford with exception of portrait of Martin creed by Alastair Muir

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THE DRUM 16.APR.14 www.thedrum.com MaRTin cREED23

You're engulfed in a huge room full of balloons. Not just a few balloons, mind you, but a boggling amount of balloons. In fact half of the air in the room is inside the balloons. And that's the artist's point, as you can tell by the title – 'Half the air in a given space'. As you push your way through them, feelings of claustrophobia slowly turn into the simple joy of being a child again, and having fun.

This is the world of Martin Creed – an artist who for the past 25 years of his career has taken a singular view of art; that of constant questioning. Although

his work is very much about ideas, it is also about feelings, and the way we filter and interpret them. It's interesting to juxtapose what he does with his art in comparison to what advertising creatives do with their creativity.

Maybe we should begin by defining society's differing views of fine art and commercial art. In the world of advertising with which we are all familiar, the imperative is firstly to be noticed above the field of static white noise that permeates everyone's lives these days. Not an easy task, but one that is highly motivating to people of a certain creative bent. The


www.thedrum.com 16.APR.14 THE DRUM24covER sToRy

personal rewards for coming up with a cut-through campaign idea in the industry are awards, salary raises and peer glory.

To be honest, the world of fine art is not really that much different, once you separate out all the critical guff and fluff. As an artist it is imperative, if you have any ambition at all, to see your work get the biggest 'canvas' it can. Which means that you absolutely need to cut through. And the rewards are pretty much the same – awards, higher sales prices and peer respect.

What the art world sniffs at, when anyone

mentions the communication arts, is that 'industrial' art work is created from a provided brief and for a commercial end. The belief is that fine artists work to their own briefs, theoretically without thought or care for how the audience is going to react to their musings.

The fact is that the lines are now so blurred that these traditional views are creaking at the seams. Traditionally, advertising was simply a task of filling units of media space with a clever idea. The multi-touchpoint digital world has changed the game for creative teams as much as the rise of photography did with painting in the last century. So we are now in a space where literally anything goes, and creative experimentation with these new channels is the only sensible way forward. We are all artists now.

It is worth considering, therefore – freed of the restrictions of briefs and commercial imperatives – how an artist like Creed approaches what he does.

To start with, Creed knows no restrictions on the medium he uses. His work includes painting, sculpture, installation, film, photography architecture, music... and broccoli. In fact anything that can get his message across in a thought-provoking way. The freedom that this way of thinking affects his work provides him with an endless stream of new creative possibilities.

Take, for instance, what is arguably a piece of cross-over work – originally conceived as a commission for a record sleeve design, his Work No. 1000 is literally a thousand individual prints made by block-printing sliced broccoli, in different colours. Although made from a repetitive process, every one is unique. The lesson here is that we need to find ways to truly personalise our message to our audience in charming and disarming ways, even though we are saying the same thing.

Then there is Work No. 1092 (Creed loves to number his work) 'Mothers' – a huge neon sign with letters two and a half metres high, that spins around

“wE aRE now in a spacE wHERE liTERally anyTHing goEs, anD cREaTivE ExpERiMEnTaTion wiTH THEsE nEw cHannEls is THE only sEnsiblE way foRwaRD. wE aRE all aRTisTs now.”


THE DRUM 16.APR.14 www.thedrum.com MaRTin cREED25

at various speeds, dangerously out of control. There's real emotion in this piece, and standing underneath it – which feels really intimidating – makes us re-experience something of the way we sometimes felt as small children.

Creed is an avid film maker, and his work here is beautifully pared down. Usually shot in a white limbo set, his films look like a type of minimal TV commercial. However, what happens in them is surprising and often visceral. In 'Sick and Shit' we are literally confronted in this pristine environment with individual people walking into frame and copiously vomiting onto the floor, or crouching down and crapping. Whilst shocking and disgusting, you can see that Creed is deliberately crossing the line to hold a mirror up to our own

traditional cultural restrictions on what we should or shouldn't witness.

In contrast, another of his films features Orson and Sparky, an Irish wolfhound and a chihuahua – the biggest and smallest of dogs – alternately wander through frame and off, eventually meeting in the middle, over a soundtrack of one of Creed's band's thrashy punk tracks. Funny and charming, it underpins his obsession with extremes of size.

Creed uses ironic humour a lot in his work. On the outside terrace, we are confronted with that most mundane of modern cars, a silver Ford Focus LX. As we walk around it, trying to decipher what to make of it, the car comes to life of its own accord – the doors and boot fly open, the radio starts up and the lights start flashing. It's a bit of a shock at first,

and then funny and arresting in equal measures.There's a lot at this exhibition that feeds our

thoughts and imaginations, and that is the point of Creed's work – art intervening in the mundanity of everyday life. As marketers we can draw great inspiration from that. Art, whether fine or commercial, has to constantly raise its game to be noticed and relevant in our fast moving culture. Any of these ideas would work as publicity stunts for brands and products, and garner invaluable media coverage. Is that not ultimately what we are paid to do?

Martin Creed’s retrospective ‘What's The Point Of It?’ runs until 27 April at the Hayward Gallery, Southbank Centre, London.


To make a remarkable transformation to your agency visit THEDRUM.COM/NETWORK

Fame & FortuneDrumNetwork_DrumFP.indd 1 12/03/2014 10:30FullSinglePage.indd 1 11/04/2014 11:10

THE DRUM 16.APR.14 www.thedrum.com cREaTivE WORKS27

A round-up of the best new creative work as voted by readers of thedrum.com. For the chance to see your work in the next edition of The Drum email [email protected] or follow us on Twitter @thedrumcreative. works

Black canary Espresso Bar’s cup-masks for Free comic Book Day

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www.thedrum.com 16.APR.14 THE DRUM28creative WOrKS

Ryan Fox Thomas: Silver Snail Comics ‘Limited edition cup-masks from Black Canary Espresso bars’ To celebrate Free Comic Book Day, Canadian comic book store Silver Snail Comics transformed coffees from its Black Canary Espresso Bar with limited edition cup-masks, inspired by comic book favourites such as Spiderman, Captain America, Hulk, Iron Man and more. The custom sleeves were die-cut in order to bring the masks, designed by Ryan Fox Thomas, to life.

art direction: Ryan Fox Thomas, Sarah Jacksoncopywriting: Kristin Atkinson, Sarah WellsPhotography: Arash Moallemi, James KachanProduction house: Fuze RepsStrategy & Pr: Ryan Tyler ThomasPrint production manager: David ScanlonProduction manager: Nicole Gomez

Wunderman: Federação Paulista de Futebol ‘Linesmen for Peace’ Wunderman worked with the São Paulo Soccer Federation (FPF) to promote peace in the sport, calling for calm amongst fans during the São Paulo State Championship through its ‘Linesman for Peace’ campaign. The FPF had its linesmen replace their traditional yellow and red flags with white ones to promote the simple message: There is no offside for peace. Off the pitch a bespoke website and webfilm helped raise awareness of the initiative with posts on social networks to stimulate fan engagement, posting signs and banners at the games.

creative direction: Paulo Sanna, Adriano Abdalla, Fábio Matiazzi, Fernando Tomeu, Rafael Palermo and João Paulo Martins art director: André Araújocopywriter: Samuel Normando Photographer: Paulo Villar Print agency producer: Sandro Figueiredo Project manager: Sergio Porroagency producers: Cleo Andrade e Flávia Rocha Producer: La Casa de La Madre

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THE DRUM 16.APR.14 www.thedrum.com creative WOrKS29

Manic Design: Tart Blanc packagingSingapore-based Manic Design has come up with the branding for artisan bakery Tart Blanc which specialises in beautiful tarts featuring inventive flavour and texture combinations. Working with the owners, a pair of sisters, Manic Design created the name, packaging and namecards for the brand. A raw grey substrate was chosen to hint at the human-made, small batch nature of the bakery.

creative director: Karen HuangDesigners: Lui Yiling, Lee Suyeon

RKCR/Y&R: Marks & Spencer ‘Leading Ladies spring/summer 2014’ Marks & Spencer’s spring/summer 2014 ad campaign features a stellar line-up of British leading ladies shot by legendary photographer Annie Leibovitz. Created by RKCR/Y&R the campaign showcases the brand’s spring/summer collection whilst celebrating British women from diverse backgrounds such as actress Emma Thompson, singer/songwriters Annie Lennox and Rita Ora, supermodel, activist and artist Alex Wek, and campaigner and life peer Baroness Lawrence of Clarendon OBE, amongst others. The ladies are presented in four images across quintessentially British settings with locations including Camber Sands and the Cotswolds.

executive creative director: Mark Roalfe creative team: Nick Simons, Jules Chalkley Planning: David Frymann Business director: Priya Patel agency producer: James Orr Photographer: Annie Leibovitz Production companies: The Production Club, The Production Factory Media planning: Walker Media

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www.thedrum.com 16.APR.14 THE DRUM30creative WOrKS

4Creative: Made in Chelsea (Channel 4) ‘Mini in Chelsea’ To promote the return of E4’s Made in Chelsea, 4Creative directed and produced ‘Mini in Chelsea’, a 90 second trail that mirrors the look and feel of the reality show with one distinct difference – the characters are all played by children. The advert itself depicts the drama fans have come to expect from the socialites, despite swapping canapés for party rings and martinis for milkshakes at mini Spencer’s birthday party.

creative: Molly Manners creative director: Neil Gorringe Director: Molly Manners Producer: Jason Delahunty DOP: Nick Martin, Adrian MarciantePost production: Envy editor: Kel McKeown

Iris Worldwide: Adidas ‘Fast or Fail’ To support the global launch of the new ‘adizero F50 Messi’ boot, Adidas worked with Iris Worldwide and MediaMonks to release an online experience as distinct as Messi’s signature boot. ‘Fast or Fail’ enables players speed through an abstract representation of Messi’s journey to the World Cup, allowing everyone to experience what it feels like to be in Messi’s shoes.

Managing partner: Henry ScotlandPlanning director: Michael Barrettaccount director: Simon Yoxallaccount manager: Ben BuchananDesigner: Oskah ManchipDigital participation: James BennettFilm and game production: MediaMonksFilm director: Rogier Schalkeninteractive director: Jouke VuurmansDirector of photography: Joost van GelderHead of post: Okke VoermanProject director: Quinten Beekexecutive producer: Seb Sokoladidas director global brand marketing: Thomas van Schaik

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Noeeko: Branch Creative identity Polish design agency Noeeko has created the identity system for executive production and advertising house Branch Creative, which represents a pool of photographers, illustrators and commercial directors from around the world. The typeface used for B-C is different from the font used for the wordmark to distinguish it as a standalone monogram.

creative director: Michal Sycz art director: Michal Sycz

TD_35_08_APR16_WORKS.indd 31 11/04/2014 15:47

Make your brand famous by sponsoring the Dadis, contact [email protected] for your bespoke package

In association with: Sponsored by:Organised by:

recommendedagencies.com

After another sell-out year, the Dadis (The Drum Awards for the Digital Industries) are back and open for entry now.

Bringing together individuals and companies at the forefront of the digital industry, these awards are your chance to prove just how good you are.

Enter now: dadiawards.com Deadline: 30th May


THE DRUM 16.APR.14 www.thedrum.com DATA & ANALYTICS33

Data allows brands and agencies to fit together the pieces of the consumer puzzle – joining up the dots to build a profile. Over the next few pages, The Drum takes a look at developments in dataand analytics, including a look at the future of tracking.

joININg THE pIECES

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www.thedrum.com 16.APR.14 THE DRUM34DATA & ANALYTICS

Three-quarters of UK consumers claim they are more likely to purchase goods from a business that is honest about how it collects and/or uses information about them online, research from Toluna on behalf of Evidon has found.

This is up from 2012, when 49 per cent said that they would be more likely to purchase goods from such a business.

The study shows that over four in five UK and US consumers (84 per cent and 86 per cent respectively) have a more favourable opinion of companies that are honest and open in the disclosure of their data collection activities.

“The research findings show an interesting change in consumer opinion since 2012 and we did not anticipate such a marked shift in attitudes towards privacy,” commented Mark Hallums, director of product technology, EMEA, Toluna.

“Major news stories such as NSA and PRISM could be one of the contributing factors to the change in attitudes around data collection. While many consumers are still dissatisfied with the degree of transparency in data collection methods since 2012, there has been a notable rise in appreciation towards brands that manage data practices well and communicate relevant activity to consumers. Not only are these brands more trusted, they are also generating revenue from being open about data collection.”

bITE-SIzED CHUNkS of DATA

84% of bRITS pREfER CoMpANIES To DISCLoSE DATA CoLLECTIoN ACTIvITIES

As data and analytics become ever more key to advertisers looking to unlock insights on their consumers’ behaviour, The Drum explores a few recent developments in the space and hears from this supplement’s sponsor, TBG.

SoCIAL NETwoRkS fACE USER CoNfIDENCE CRISIS ovER pERSoNAL

DATA owNERSHIp

Social networks are facing a user confidence crisis when it comes to the use of personal data, with the majority (92 per cent) of UK adults uncomfortable sharing their data with them, according to an EY study.

The survey, which surveyed 2,000 UK adults regarding their use of Twitter, Facebook, Pintrest, and Tumblr, revealed people have become more cautious when it comes to sharing data online, particularly on

social networks with only eight per cent of respondents stating they are happy to share their personal information with social networks.

Trust in search engines was even lower at seven per cent, while only five per cent said they trust mobile apps with personal data.

Half of the respondents claimed their use of social networks has made them less open to sharing personal data and 40 per cent now restrict all access to their personal data on social media sites.

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WoRD fRoM THE SpoNSoR

The phrase “big data” has become part of our industry lexicon over the past couple of years, as marketers

grasp the importance of harnessing and analysing the

CMoS STILL UNDERpREpARED To DEAL WITH DATA Over 90 per cent (94 per cent) of CMOs worldwide believe that analytics will play a significant role in helping them to achieve business goals, though 82 per cent still feel underprepared to capitalise on the data explosion, according to an IBM study.

The study, based on findings from face-to-face conversations with more than 500 CMOs from 56 countries and 19 industries worldwide, found that high-performing CMOs were integrating internal and external data for deeper insights to help them understand their customers.

“After speaking with CMOs around the world, it became evident that more companies across all industries are striving to integrate their physical

and digital presence in order to provide a more integrated, seamless customer experience,” said John Kennedy, vice president, marketing, global business services, IBM.

The study identified three types of CMOs: traditionalists (37 per cent), social strategists (33 per cent) and digital pacesetters (30 per cent). According to the findings the digital pacesetters were more likely to be financial outperformers and were prepared for the dramatic growth of data, social and mobile channels. They were also more likely to be integrating their physical and digital sales and service channels and were the most likely to be regularly using advanced analytics to extract insights from customer data.

LoUISE NEALEHeAd of MediA StRAtegy, tBg

vast amounts of data now available. “Big data” really just means “lots of data” and as a society, we’re generating so much of it that the strategy and procedures involved in mining it for meaningful insight is key to success or failure.

The internet, mobile web and apps, wearables, the Internet of Things (IoT) and social media are creating reservoirs of consumer data and if you know how to approach it, these can provide a rich, deep and collective understanding of the market, the consumer and how brands can integrate themselves into the lives of their target audience.

People are willingly divulging information about themselves - what they want, how they feel, what they’re doing, where they are. This behaviour, and the real-time nature of the data being collected, is only increasing as we become more and more dependent on mobile devices.

Data on its own adds little value though. It takes focused analysis and a good understanding of various data sets and the relevant media landscape to identify key insights. By analysing consumer behaviour, passion points and opinions in the right way, it’s possible to build effective one-to-one content and media strategies that truly impact business objectives on a mass scale.

Measuring and tracking impact is also reliant on aggregating and analysing a large number of relevant data sets. Marketers must look to understand the effectiveness of their digital marketing efforts beyond arbitrary KPIs to identifying intermediary metrics that are directly correlated to brand goals, which will drive business objectives.

Valuable insights have always been at the heart of a winning marketing strategy, but how this data is sought after and analysed will likely evolve in this way. The brands that leverage the right insights more effectively than their competitors will surely be the ones that win in 2014.

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This month’s most usedad-wank words:

Viral

Networking

Engagement

Innovative

Bespoke

1020 times

632 times

415 times

313 times

243 times

*Industry buzzword mentions by UK marketers and advertisers, March 2014.

TBGDIGITAL.COM [email protected] +44 (0)20 7428 6650

Let real data* do the talking.



ovER-CookED?As we play out more and more of our lives online, is the cookie still cutting it for advertisers looking to understand their audiences, or does an increasingly multichannel world demand alternative methods? Gillian West finds out.

Once the undoubted king of display advertising, the cookie’s reign appears to be coming to an end. As our behaviour becomes intrinsically mobile, savvy brands are targeting consumers across multiple channels, with the cookie unable to keep up with the pace of change.

Mobile has thrown up multiple challenges for tracking consumers, a fact ZenithOptimedia chief information officer Ian Liddicoat believes has paved the way for “the death throes of the third party cookie”. With around 50 per cent of internet traffic coming from mobile and tablet devices, the cookie being turned off on iPhones and iPads and its incompatibility with apps, many believe it is no longer a long-term scalable option for the digital media industry.

Though fragmentation of media spend is not a new thing, the cookie’s USP was that advertisers could attribute a real return for their ad spend in a way TV, press and radio was unable to do, and although it is a widely held belief, PulsePoint commercial director Gareth Shaw dismisses the idea that cookies don’t or won’t work on mobile as “a bit of a misnomer”, given that the cookie will work, but in a very limited manner.

In terms of the cookie’s functionality on mobile there are two sides to the coin given that there is some usability on web-based applications, it’s the native applications where the biggest problem lies.

Shaw explains: “For all intents and purposes, the cookie won’t work but you do have other options like device ID, Apple ID, Android ID, unique device

IDs and fingerprinting, and if you can glean off that configuration data you can use a probabilistic model. But the year of mobile has finally happened, smartphone penetration is through the roof, people are using their phones to browse the internet and shop as well as all the other engagement points an advertiser looks for. There needs to be a better solution, and mobile is the catalyst for looking beyond the cookie and future proofing before connected TVs really come into fruition.”

Amanda Gosling, global partner IBM Interactive Experience, tells The Drum that the digital media industry is “striving to understand a person across sessions, devices, platforms and interest areas” in order to build “an ‘all party’ dynamic personal view” of the consumer.

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exception rather than the norm”.James Collier, regional MD, EMEA, AdTruth,

comments: “We have seen a shift of premium publishers launching private ad exchanges to better monetise their data and take back control of their audience. The industry is starting to show the first party are the ones in a control of the data driven future, and it is them who knows the consumer best. The third party ecosystem now must find value and start building relationships with first parties to achieve a balanced ecosystem.”

One such company using its own exchange is Facebook and it is the social sites like Facebook that some believe will be most useful in a post-cookie market. However, not all marketers are thrilled at the thought of social being used for tracking purposes, with some believing that this method of data collection could be even harder than third party cookies for consumers concerned with online privacy to swallow.

AgilOne CEO Omer Artun claims the lack of delete option with social tracking could a deal-breaker to long term success as those who do not want every web session tracked have the option to delete cookies from their browser as and when they wish, though some applications using social logins do not allow users to delete their history. Artun says: “Given that some applications will only work when you log in through social and don’t have a delete option the bigger guys

can then track you and you don’t have a choice, at least with the cookie you give your consent to it holding your data.”

Cookies have come a long way from what they were conceived to do but it is clear today’s market now requires something more robust, and though what Apple, Google et al are doing might be a step in the right direction, the digital experience isn’t limited to just one platform. “The cookie is a victim of its own success. It was meant for one thing but when it was worked out it could be used for tracking and targeting it was a bonus. Third party data providers and companies have built successful businesses off the back of leveraging cookies and cookie data assets but it’s become so big and so large coming up with a replacement is not a monumental task,” says Shaw.

The main concern amongst marketers is that one set of silos are being replaced for another and in five years’ time, instead of discussing how to break down the silos by channel, the conversation will have merely shifted to how to break down the silos by media owner.

A universal ‘one-size-fits-all’ model may be what the industry wants to see but it’s unlikely to happen anytime soon with MD EMEA at Turn, Pierre Naggar highlighting the real issue: “When we talk about ‘killing’ the cookie, we are actually being distracted from the real issue: who gets to control it.”

Being able to understand the ‘all party’ profile of someone would provide a new source of advantage for whomever can solve this puzzle.

“This means different things at different moments in the customer journey – unknown, known unknown, known as the progression from anonymous through personally identifiable information (PII). Being able to understand the ‘all party’ profile of someone would provide a new source of advantage for whomever can solve this little puzzle,” explains Gosling.

“With this as the vision, the cookie is too limiting in its current form. The idea of an identifying and measurement device that is agnostic of platform, session, device, mode of interaction which integrates third party data, with customer journey data and ultimately with your PII data is a very powerful one which will create pervasive personalisation that is truly “personal” as it will be about the person,” she adds.

Currently the big players in the tech market – Google, Apple and Microsoft – are working on their own alternatives to the cookie. With reports suggesting that Microsoft’s replacement would look to trace users across all Microsoft-owned devices and services, including the Xbox, Shaw says, interestingly, this could bring Microsoft into the TV market as console owners can watch videos on Hulu and YouTube as well as live TV through some cable providers. Reports on Google’s alternative say it would work across devices using Chrome, on tablets and smartphones running the Android operating system, and on Google’s network or third party sites and apps.

ValueClick’s Stefan Vos voices what he, and most of the industry, would like to see from these alternatives: “It would be useful for the likes of Microsoft, Apple and Google to implement a universal user ID that could be accessed through any browser and could be turned off or kept on. That would be one way to get around cookie tracking and cookie deletion issues and make people feel safer around the ad industry.

“On the mobile side of things, what we ultimately want is for Google and Apple to make the Android ID or ISDA available through the browser and not just the app. Then you have two methods of tracking that protect privacy and give users the option to turn off or opt out but also provide universality to make tracking easier for the industry as a whole.”

In addition to ID-based solutions from the big players a recent report conducted by Forrester Consulting on behalf of Acxiom revealed that as marketers embrace data-driven marketing, the use of first party data sources has risen, with third party data now being used to “augment, not supplant, first party data”.

According to the research, the method of acquiring third party data has changed, with marketers moving from purchasing third party data via ad networks to demand-side platforms (DSPs), revealing that relying solely on third party data is now “becoming the


THE DRUM 16.APR.14 www.thedrum.com DaTa & analyTics39

DoEs THE avERagE consUMER REally

UnDERsTanD cookiEs anD pRivacy issUEs?

Stefan Vos, director, data and analytics EU, ValueClick I’m an American and I don’t know about the rest of the world

but the average American doesn’t really pay that much attention to privacy issues unless it’s shoved in their face.

I would suspect that there is a very vocal group of individuals concerned with privacy and they are the ones driving conversation. It is of benefit to everyone to have privacy protection but I think by-in-large most consumers aren’t paying attention until something happens to them.

Ian Liddicoat, chief information officer, ZenithOptimedia With users being continually presented with ‘this site uses

cookies’; ‘this is the definition of a cookie’ and ‘do you want to opt in or opt out’ messages, I think opt in and opt out are well understood concepts. But depending on the population and the segment of the market you’re talking about it tends to be only about 25 per cent who will block cookies or opt out.

On the one hand, you could say that’s because of awareness of the issue and it’s clearly worked, but on the other hand you could argue if that is the case, why isn’t it higher?

Gareth Shaw, commercial director, PulsePoint When I speak to people outside of the industry, and even just

in my circle of friends, very few seem to be aware of privacy issues. They see the warnings on big sites and some people ask me about cookie policies but I think the industry really dropped the ball there and we should have done a better education job. We’re in a situation now where there is a retrospective education job and people don’t understand that all this government snooping stuff and NSA exposés aren’t the same thing.


www.thedrum.com 16.APR.14 THE DRUM40knowledge bank

knowledge

bankThis section of The Drum showcases marketing industry insights. For the opportunity to share your knowledge, contact James McGowan at [email protected] or call 0141 559 6072.

TD_35_08_APR16_KB_INTRO.indd 40 11/04/2014 15:51

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PERISCOPIX

Advertising Vs. Analytics cookiesBy now we know that the average punter in the street almost certainly would have no understanding of the difference between third party ad network cookies and first party web analytics cookies. It would probably be demanding enough just to explain that you weren’t talking about baked goods. Within the industry however, the differences are well understood. And those in charge of creating browsers and operating systems are increasingly cracking down on third party cookies. Despite some incredibly confusing EU legislation, first party web analytics cookies really haven’t taken a hit from browser and adblocking add-ons. This is true of mobile as it is of desktop.

The message then, is that first party cookies aren’t really dying at all. They are just being exposed by inherent shortcomings, some of which didn’t matter before and do now. The main issue of course is multi-device browsing. It is now more or less the norm for users to have two or more devices from which to access the internet. Three or more is not even that exotic these days.

In order for a single user to be tracked across multiple browsers or devices, we would need to pass cookies from one device to the next. Which just isn’t feasible without some kind of overarching login-based framework. Universal Google Analytics now does a good job of attributing visitors across multiple devices providing they are logged in to the site. Beyond that, most other attempts at tracking beyond cookies have been more invasive, more personally identifiable and harder to opt out of. In short, not likely to catch on any time soon.

Looking to offlineWe give up our data all the time, from cameras in the street to mobile phones and in-store loyalty cards. Take your clubcard/nectar/beauty card etc; you freely give them your personal purchasing habits, credit card numbers and address. Is it more invasive that Google tracks your movements around a website in complete anonymity or that Tesco knows you, Dave Smith of number three Chestnut Avenue bought a bikini, some whipped cream and a bottle of Asti? That is a rhetorical question. The same privacy geeks and identity theft worry-warts who fear online tracking are probably giving data to numerous offline parties without a second’s thought.

Track me, pay me (any way you want to)So how do we find a solution that will allow our tracking methodologies to keep up with

technological progress? Something that users will allow without protest? The answer quite simply is reward. Loyalty cards give you points and discounts, CCTV gives you safety and so forth. To the uninitiated, internet tracking gives you as a user, nothing. No benefit at all.

Once we realise that whinging about how websites would be rubbish and content producers would be destitute, were it not for ads and tracking, we can get productive and build a system that benefits everyone. But who is this ‘we’ I speak of? To start off with the easy ones; Google. Remember when you had to agree to their new T&Cs for your Google products a year so ago? That allowed Google to share information from one of their products to the next for a given user. With the

Track me, pay me (any way you want to)

Tel: 020 7234 0500Email: [email protected]: www.periscopix.comTwitter: @Periscopix

coverage their single login platform gives them, Google have the ability and scale to put this into place already. It just doesn’t seem like it’s a smart move for them publicity-wise at the moment.

What about Nectar, or Mastercard, Sky TV, mobile network EE even? They all have huge user-bases, massive piles of data and a strong level of trust and various rewards schemes in place already. If they were willing to share the spoils that a universal tracking system would bring them with the users themselves then perhaps we can start to see attitudes softening and even people opting in to tracking to reap the benefits of the rewards schemes. It sounds like a big old undertaking but the benefits would be worth it for the first company to crack this.

“IS IT MORE INVASIVE THAT GOOGLE TRACKS YOUR MOVEMENTS AROUND A WEBSITE IN COMPLETE ANONYMITY OR THAT TESCO KNOWS YOU, DAVE SMITH OF NUMBER THREE CHESTNUT AVENUE BOUGHT A BIKINI, SOME WHIPPED CREAM AND A BOTTLE OF ASTI?”

Ben GottDirector of AnalyticsPeriscopix

DATA &ANALYTICS

FOCUS

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4Ps MARKETING

There are a lot of informative articles out there at the moment on how to get the most out of your data and the tools you’re using to collect it; elements that are certainly crucial to get right. You’d think that if you had done your planning, set-up your implementation correctly and were garnering useful insights from your data you’d got it nailed. Alas, not quite. There always seems to be one final piece missing for me and that’s the contextualisation of the data - how it sits within the big picture of all your business activities. After all, it’s not just the digital world that affects how a customer behaves online.

Although, as I say that, I’m going to start on giving context to your insights from within the analytics itself. It’s pretty standard fare to compare a chosen time period with the same in the previous weeks/months/years to identify what are seasonal trends and what’s outside the norm. What about at a campaign level? Do you know how your different customer types (such as new purchasers, one-off buyers and repeat customers) behave in general? Their frequency of visits, time on site, device(s) used, amount spent and type of products bought? If not it can seem to make sense to attribute changes in traffic, interactions and ecommerce performance to campaigns or promotions, when in fact they may only be part of the picture. One customer group may have been influenced by a promotion whilst another is just behaving as usual.

Of course marketing certainly plays its part in affecting customer behaviour, so do you refer to all your offline activities when looking at your web analytics? Do you have a calendar of your TV adverts, when they were shown, and what they were promoting? Did you have a stand at a trade show recently or a pop-up shop in a local town centre? Maybe there was an in-store promotion or you sponsored a big one off event like the Olympics. All of these events could easily, and indeed should, see an increase in activity on your website. If the people managing your analytics don’t know all of these other things are going on they can’t factor them in when explaining why visits from natural search are up or why there was a sudden spike in traffic just after Coronation Street for a specific product. It’s also important to have these records as campaigns are quickly forgotten about when you move on to the next one, so when it comes to historical comparisons no one will remember what TV advert was running 6 months ago and for exactly how long. Therefore your analyst won’t be able to include them for consideration and can’t give you the whole picture.

One final area to cover is site maintenance. IT work on your website can also affect its performance no matter how effective your marketing is. Anything like downtime, launch of a mobile site, change of hosting provider, sections of your site added to or removed, change in URL structure and set-up of redirects should all be noted down and kept somewhere that your marketing and analytics people can access easily. No one wants their marketing people thinking they’ve run a disastrous campaign when in fact there was unexpected downtime due to a security breach of the firewall. At the risk of repeating myself, when it comes to historical reporting this kind of information is invaluable when trying to work out the peaks and troughs in site

Giving your data the whole picture

Tel: 0207 607 5650Email: [email protected]: www.4PsMarketing.comTwitter: @4PsMarketing

performance.Without a calendar or record of the above

scenarios that anyone can easily refer to, you’re leaving your analysts pretty impotent in their ability to give you a complete picture of what impact everything your business is doing is having on your online performance. An added bonus is your partner agencies will love you too; it will help them enormously by clearly showing all contributing factors to their success or failure and therefore what they can and can’t affect going forward. You don’t need a whole load of infrastructure and implementation to make this happen, with a little re-education and some new habits in place you’re there.

“OF COURSE MARKETING CERTAINLY PLAYS ITS PART IN AFFECTING CUSTOMER BEHAVIOUR, SO DO YOU REFER TO ALL YOUR OFFLINE ACTIVITIES WHEN LOOKING AT YOUR WEB ANALYTICS? DO YOU HAVE A CALENDAR OF YOUR TV ADVERTS, WHEN THEY WERE SHOWN, AND WHAT THEY WERE PROMOTING?”

Emma HaslamInsights Consultant4Ps Marketing

KB.indd 42 11/04/2014 12:23


MBN

With steadily increasing hype and an on-going promise that ‘Big Data’ will solve untold commercial challenges and unanswered questions, how seriously are businesses taking it and what progress are they making with its implementation, staffing, and resulting benefits? MBN’s Big Data Survey, carried out in 2013, questioned 135 participating companies and in excess of 120 senior executives in six countries to quantify attitudes, adoption trends and implementation issues surrounding Big Data. Here we share our key findings, conclusions and observations relating to the results.

Is Big Data finally reaching the mainstream board agenda?Yes. Our survey highlights progress in the integration of Big Data initiatives and core IT strategy initiatives; 12 percent of respondents in our survey have had a board level sponsor for such projects. This would indicate that Big Data and the board do mix, with results indicating that this will increase in the next year through specific awareness initiatives.

Big Data is not just about IT!In the past, much has been opined about where Big Data initiatives should sit. For many, data management and analysis were often considered IT roles. Our study shows that perception and reality are changing, and in some cases quite rapidly. Surprisingly, some 93 percent of businesses with dedicated business analysts do not consider data analysts as part of their IT headcount. When explored as a whole, these findings point to an ever-increasing emphasis by businesses to embed data management and analysis throughout the business – getting data into the hands of many more users.

Investment is demanded to deliver to the benefits of Big DataDespite more than 81 percent of respondents indicating that they are already using some form of business insight tools, over half of respondents stated that they would be increasing their investment in this area. From the responses provided, it seems that this increase in investment is most likely to come from the recruitment of additional human resource to make sense of Big Data and to ensure compliance and good governance of the data environment, rather than on brute force technology, tools and systems.

Big Data becomes increasingly important to businessWhile at present there appears to be a reduced return on investment, many of the businesses questioned believe that the initiatives will eventually deliver what is expected. Review of the anecdotal comments here confirms that a skills shortage and lack of appropriately skilled senior managers has probably contributed to this.

So, skills for maximising the advantages of Big Data are important. The vast majority of companies (92 percent) with dedicated data scientists and analysts have turned data into revenue. Among companies without dedicated analysts, less than 30 percent have successfully converted data into revenue.

Benefits beyond new revenues from Big DataBesides generating revenue, how are businesses using data to shape their operations?

The most popular use of data is for sales and marketing activities. Interestingly, 93 percent of respondents reported that using data has helped them make informed business decisions. Perhaps this is what will drive the board agenda and its likely future interest in how Big Data can be harnessed?

There is much more work still to be doneA majority of respondents reported obstacles in

MBN’s Big Data survey: key findings

Michael YoungCEOMBN

Tel: 0845 070 1130Email: [email protected]: www.mbnrecruitment.comTwitter: @mbnrecruitment

managing, storing and analysing data; from being overwhelmed by the volume, to data security, to not having enough dedicated business insight and analytical staff to analyse it. Based on earlier insight, it shouldn’t come as a surprise that 79 percent of business stakeholders feel their company needs to develop new skills to turn data into business insights.

Clearly, there is much more work still to be done!

Final thoughtsFor an increasing number of organisations across sectors, the path ahead clearly involves the rise of Big Data as a topic of critical importance to the boards. It’s an optimistic outlook but one fraught with obvious challenges.

If you would like to know more about how we approached the survey, the findings or even how we can help you to overcome the pitfalls, contact us via [email protected].

“INTERESTINGLY, 93 PERCENT OF RESPONDENTS REPORTED THAT USING DATA HAS HELPED THEM MAKE INFORMED BUSINESS DECISIONS.”

Emma HaslamInsights Consultant4Ps Marketing

DATA &ANALYTICS

FOCUS

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BUGFINDERS

As we all remember from childhood, the moral of Aesop’s fable ‘The Tortoise and The Hare’ is to take your time. Do what you’re doing well without worrying about how far ahead anyone else might seem, because if you rush, you’re likely to make mistakes. Slow and steady wins the race.

However, when it comes to software testing, slow and steady doesn’t win the race – it delays getting the product to market, resulting in a loss of potential revenue and an advantage for competitors. On the other hand, it doesn’t pay to be a hare either – rushing to market at the end of development without having tested your app or website thoroughly is likely to lead to poor functionality, irritated customers and, again, lost revenue.

This is the age-old dilemma faced by brands when it comes to software testing. Traditionally, good quality testing has taken weeks or months at the end of development. As a result, a lot of enterprises choose not to test beyond what has already been done by a 3rd party developer, or perform just a few days of testing in-house or by outsourcing.

This often results in faulty software that can damage a brand’s reputation. If a customer tries to buy something on your mobile site but finds, for example, that they can’t put items in their shopping basket, they are likely to head straight to a competitor’s site within seconds - and never return to yours.

Crowdsourced software testing allows brands to be both the tortoise and the hare. The practice of utilising large, international communities of professional software testers, crowdsourcing can achieve what traditional testing methods cannot: a resolution to the traditional conflict between reducing time to market and releasing high-quality software that offers brand protection.

It achieves this by employing a far greater number of testers than would be found in an average, traditional test team of 12 testers or less. As discussed, such a team would take weeks or months to test a site thoroughly on every device used by a company’s customers. As this would result in an unacceptable delay in getting the site to market, that team would be likely to try to test on as many devices as possible within a few days.

However, there are only so many devices that 12 people can test on in 3 days and the testing that is done is likely to be rushed and ineffective. As

a result, business-critical bugs can be missed on multiple devices. In addition, members of small test teams tend to experience ‘browser blindness’ – a rapid depletion of concentration that comes with each new device or browser tested on – which also lowers the quality of the testing.

At BugFinders, our crowdsourced community comprises 54,000 professional software testers in 99 countries. The fact that we can deploy hundreds of testers to work on a project simultaneously means that a site can be tested on as many device configurations as a client requires, in just 1-3 days. Our clients can then take their site to market on time without worrying about whether it will work properly.

BugFinders’ approach also produces such high-quality testing that improved customer experience and brand protection are guaranteed. Our testers are paid per bug, and compete to find the most

The Tortoise or the Hare? Resolving the age-old dilemma of software testing

Tel: 0844 870 8710Email: [email protected]: www.bugfinders.comTwitter: @BugFinders

valuable. This means that no single tester is likely to test on more than 1-2 devices, mitigating browser blindness. In addition, our testers are not pressured by time and budget restrictions and we often raise the value of bugs towards the end of a project to ensure that every last critical bug is found. All of this results in highly efficient testing.

As well as preventing revenue from being lost, BugFinders’ service is also highly cost-effective. Test periods are short, and the fact that our testers are paid per bug (unlike traditional test teams, who are paid salaries and associated benefits) means that testing can be performed at a significantly lower cost. These savings get passed on to our clients in the form of cost-effective, fixed prices agreed at the outset of projects, allowing brands to sprint to the finish line, win the race and save money while doing so.

“WHEN IT COMES TO SOFTWARE TESTING, SLOW AND STEADY DOESN’T WIN THE RACE – IT DELAYS GETTING THE PRODUCT TO MARKET, RESULTING IN A LOSS OF POTENTIAL REVENUE AND AN ADVANTAGE FOR COMPETITORS.”

Martin MudgeTechnical DirectorBugFinders

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JAYWING

Joining forces with celebrities, or sponsoring major sporting events, is nothing new. The sponsorship market in Europe alone was worth £21.4bn in 2012, according to figures published in November 2013 by the European Sponsorship Association. Such sponsorship or endorsement doesn’t come cheap, so how can organisations make sure they are making the most of such tie-ins?

While the sponsorship market might not be new, what is relatively new is the opportunity for brands to exploit online channels to sweat such big investments and engage with existing fans of the celebrity or event in the places they work and play. Over time their affinity and appreciation will transfer to your brand.

Social media channels present some of the easiest opportunities to interact with your audience, but with so much noise, delivering content that truly engages is critical. And having agreements with personalities or events that have the same qualities you want to promote can go a long way to making sure your presence in conversation adds value to your brand. Understanding the fan base of a specific sponsorship opportunity is the first step in knowing what to say to start a conversation, what content

to develop and how it should be distributed and shared.

Sponsorship forms a key part of Castrol’s marketing strategy, helping to extend its brand presence in international markets. We’ve worked with Castrol for over six years, helping drive the best value by furthering reach using apps, social channels and shareable content, such as videos. We’ve seen first-hand how this helps to increase brand and product awareness and ultimately consideration. We help Castrol understand the impact of each of its sponsorship activities including football and motorsport across Europe and Africa. These insights have informed the direction within sponsorship to position its role as a pioneering business that applies its ethos to everything it does. This allows Castrol to talk emotionally and coherently about its pioneering product development and technology through sponsorship activation and content.

The excitement and noise on social media can boom around an event and being part of the conversation can help your brand get noticed. When Beyoncé announces a tour, the buzz on social media is almost audible. And because she is brand ambassador for Pepsi Max, PepsiCo obviously wants to take advantage of this. Both have large Twitter

Maximising the value of sponsorship through online activation

Tel: 0333 370 6500Email: [email protected]: jaywing.comTwitter: @jaywingsays

followings, so this was the perfect vehicle to increase awareness of the partnership. To get the attention of fans, Pepsi Max offered the exclusive prize of a VIP meet and greet with Beyoncé. We took this and devised a competition that would become one of the most talked about and successful Twitter campaigns ever. Simple to enter, by following @PepsiMaxUK and tweeting the hashtag #MeetBeyonce, fans could click through to the Pepsi Max site and see their place in the virtual queue. At ten random times during the day, the person at the front of the queue won. With over 150,000 mentions and engagement levels that peaked at 32%, the campaign earned a silver W3 award and demonstrated the opportunity to extend the reach of the brand.

Sponsorship gives brands a great opportunity to reach an already interested and engaged audience. Mobilising that audience to talk about the brand is where true value can be delivered. Online channels provide the perfect environment to achieve this. Fans are already on social networks, so delivering campaigns, competitions and content that interest and excite them, mean you get a share of the conversation. Having the idea is one thing but having the expertise and experience to execute those ideas successfully is all important.

David WoodBrand Communications Managing DirectorJaywing

KB.indd 45 11/04/2014 11:17

BUILD YOUR OWN PROGRAMMATICAD ECOSYSTEM WITH IMPROVE DIGITAL

Improve Digital helps premium publishers across Europe rebuild their existing client relations withinthe automated channel, and protects them withinthis rapidly changing environment.

We offer a 360 technology infrastructure that helps our clients to grow their own private ad ecosystem, and benefi t from open exchanges, across PC,video and mobile.

Through our platform publishers can offer their inventory to over 350 demand partners and support the marketing efforts of tens of thousands of performance and brand advertisers.

IMPROVEDIGITAL

START YOUR OWN AD ECOSYSTEM TODAY AND GET CONNECTED TO THE WORLD OF REAL TIME ADVERTISING

Contact Sue Hunt for more [email protected] | www.improvedigital.com

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IMPROVE DIGITAL

Programmatic has long had the association of complexity, risk, and confusion, but as it continues to move up the industry agenda, growing in stature and revenue, media businesses know they need a strategy to embrace the shift in trading model. Sue Hunt, UK MD at Improve Digital tackles some common myths associated with the space, and how they can be addressed.

Programmatic will cannibalise my salesIt is still a common concern amongst publishers that embracing programmatic trading risks revenue by opening up back door access for agencies to buy the same space, at a lower price. This may be true if programmatic is only viewed in the context of “remnant” inventory. Unsold, unmanaged advertising space that rarely makes it onto a direct deal.

The industry has moved on. With the abundance of data available, and the sophistication of how that audience data can be applied to buys, every impression has a value. Making that content and audience available through programmatic channels has been proven to increase fill rates, yields and overall revenue. Performance, and increasingly brand budgets are being diverted to trading desks, so without a programmatic solution in place, these budgets will simply be spent elsewhere. They are rarely made available to direct buys due to the centrality of data and efficiency of technology.

At Improve Digital, our philosophy is to give the publisher safeguards to mitigate that perceived risk. Floor price controls can be managed to every level of granularity, with or without private marketplaces, ensuring audience and environment are traded at a fair price, complimenting not compromising direct channels.

I can reduce/streamline my sales teamWhilst technology can automate some tasks (and frankly mundane, manual tasks) the human element will always be critical. Bidding techniques and yield management need analysts and highly skilled optimisers. Bespoke sponsorship and integration deals need sales and execution expertise. Platforms need to be understood, translated and utilised according to commercial strategy

and operational efficiency. Media has long been a relationship driven industry, where success comes from building a partnership, built on trust, service and commitment.

Transparency will expose my business to competitive riskAs we strive to bring brand advertisers to digital, let alone to programmatic, transparency becomes a necessity rather than a choice.

As consumers, we would rarely buy a product without knowledge of and trust in the retailer, and are willing to pay a higher price for that trust and quality. Advertising works to a similar expectation. Marketers want the assurance that their brand is appearing in an appropriate environment, and won’t risk spend without that guarantee. Demonstrating quality content and audience therefore can increase opportunity rather than present risk.

As we strive to engage and educate direct and premium publisher and advertiser brands, willingness to offer full transparency only contributes to the growth and general health of the programmatic trading space.

Doing nothing is low riskWith close to 25% of digital spend now flowing into programmatic, the market has already developed too quickly to sit on the sidelines and wait to see what happens.

Trading desks are operating at scale, diverting dollars from traditional planner/buyer routes, and winning incremental budgets. Research Improve Digital commissioned in 2013 still pointed to a supply shortfall across most sectors, and the buyer’s willingness to engage and partner with new suppliers of sought after audiences and content.

Common myths associated with programmatic advertising

Email: [email protected]: www.improvedigital.comTwitter: @ImproveDigital

If current projections prove to be correct, and 2015 sees 40-50% of digital spend flowing through programmatic, then there is still opportunity ahead. Our role is to work with you to define that strategy, test, iterate but ultimately ensure publishers are positioned to succeed.

Using more than one SSP will increase my revenueIf we assume most SSPs and exchanges have access to similar demand funnels, and it is their proprietary algorithms, controls and service that drive performance, then using multiple platforms can present more risk than opportunity. Competition is diluted if inventory is manually allocated across platforms, and therefore not optimised to the highest bidder. Some impressions will always naturally remain unsold, therefore adding opportunity cost within each platform.

Technology will solve all problems As revenue flowing through programmatic advertising continues to increase, so too do the requirements for technology, fulfilling needs across PC/video/mobile, brand safety, ad viewability, data management, to name a few.

This proliferation of players is great if fulfilling a defined need and commercial strategy. However, we do risk the negative impact of fragmenting the sector if technology is seen as a core driver of growth. Too much choice can cause confusion, potentially restricting the quality of inventory publishers make available and the spend marketers allocate. Assuming technology drives commercial strategy can also be a costly mistake, increasing pressure on yield, beyond market tolerance.

The key to successful technology is understanding core business needs and objectives, and selecting the technology that meets that need, rather than creating it.

“AS WE STRIVE TO BRING BRAND ADVERTISERS TO DIGITAL, LET ALONE TO PROGRAMMATIC, TRANSPARENCY BECOMES A NECESSITY RATHER THAN A CHOICE.”

Sue HuntUK MDImprove Digital

KB.indd 47 11/04/2014 11:18


WILEY

When marketing to people on their mobile devices, one of the most important places to begin is the intersection of search and social. When customers search for something, aim to be the brand, product, or service they find. And once they find you, be the brand, product, or service everyone’s talking about: be social.

Search and social strategies need to be simultaneously cultivated so they can feed off and drive each other. The content created for and around a brand needs to drive awareness, establish who and what you are, and create interest with your desired customers. A smartly constructed social presence must make you sought after and easy to evaluate and find.

Just what I was looking forAdvertising isn’t about pursuit anymore—today’s consumers are proactive. To get new customers, you need to make your product the thing that shows up when they start looking, in the right place, time, and context. Ideally consumers search for your company by name and keep coming back. But you must be easy to find first. Search optimization should be integral to every mobile and marketing strategy, but the content inside mobile apps (which are closed systems) can’t be searched efficiently at present. So especially with an app, the mobile way-in to your brand and business needs to be easy and clear to find.

Just because something is easy to find doesn’t mean people will find it though. You have to let them know you exist, and then help them find you. You can buy search terms, promote your content, and pay for your clicks, but you also want to make sure you surround your brand in as much related content and contextual placements as possible. Try to erase the line between your branding, products, and the content you create around them. Create connections outside standard partnerships and placements. For instance, don’t just share advertising space with your partners; use each other’s content. If you make cream cheese, reach out to companies that sell strawberries or crackers, and integrate recipes with each other’s products in your mobile and web content. Sponsor and support the functionality of other brands, and make these synergies/crossovers meaningful for your customers.

Get your site rightToday’s market is so competitive that maintaining a position at the top of search results can be a nearly impossible, often expensive, task. Accordingly your

content must be mobile in nature, created for the device, and how it’s used.

If you’re just getting started, you can manage and self-purchase your online advertising via Google, Twitter, and Facebook by using their ad placement and promoting capabilities, and all allow you to track results. It’s a simple way to start testing, learning, and gathering information at relatively low cost, while driving awareness and sales.

Joining, having, and starting conversationsFor mobile marketers, there’s an enormous difference between having, joining, and starting conversations. All three have their place.

Joining a Conversation is the best for clients beginning their social efforts, especially those popular on social mobile apps. Adding your voice to discussions happening in established groups can be your way into influential advocates of your brand. But don’t be “Dad at the Disco” trying too hard, showing

Search and social: the sweet spot of mobile marketing

off, and making a fool of yourself. Be aware of where you are entering, and how to be authentic, helpful, and cool.

Having a Conversation is when you respond to requests for information or otherwise reply to basic queries from customers or potential customers. This often involves a service, like a banking app, or any sort of low-involvement transaction experience. Having conversations can also be responding to comments left on content you create on apps and mobile channels, such as images you place on Instagram.

Starting a Conversation can be much harder, as it usually involves a product or service that’s more want than need, such as entertainment. For example, when potential customers don’t know what your product is or why they should be interested in you, then it’s on you to get the conversation ball rolling. The best way to start any conversation is to listen to what people are saying, figure out where you and your point of view might fit, ask questions, then jump in.

Tom Eslinger, Worldwide Creative Director of Digital at Saatchi & Saatchi and author of Mobile Magic: The Saatchi & Saatchi Guide to Mobile Marketing (Wiley £20.99) Out now in print and ebook format.

KB.indd 48 11/04/2014 11:18


THEDRUM.COM/DIRECTORY

THE DRUM DIRECTORY

Regain control and visibility with the complete agency system. Quick scheduling and easy client portal. Over 10,000 users in marketing, design & digital agencies.

SynergistTel: 0870 444 9656Contact: Nick [email protected]

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Sohnar LtdTel: 0800 880 3008Contact: Tracey [email protected]/thedrum

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Digital copywriters and trainers since the web were a lad. Crazy strong in financial services. We work with AXA, RBS, Tesco, Vodafone – and agencies.

BlackadTel: 0845 838 0612Contact: Alan [email protected]

COPYWRITING

The creative communications company that helps you tell your brand story.

Digital creative agency based in Marylebone, London. Creating beautiful website, digital campaigns including SEO & SEM & video productions

VCG CatapultTel: +44(0)1376 533388Contact: James [email protected]/catapult

Great Minds DesignTel: 44 (0) 207 748 7481Contact: David [email protected]

DESIGN

DESIGN

Lab is a creative digital agency with technology expertise, working with lifestyle brands in retail, food & drink, health & fitness, golf & marine.

LabTel: 0207 183 6668Contact: Tom [email protected]://lab.co.uk/

DIGITAL MARKETING

We exist to help our Clients and their brands thrive in an ever-changing world. Not just to be ready for change. But to steal a march on change.

Bray LeinoTel: 01598 760 700Contact: James [email protected]

INTEGRATED

A digitally-focussed marketing agency that finds compelling ways to connect with audiences, build brand relationships and deliver excellent ROI.

79™

Tel: 01484 487951Contact: Behrooz [email protected]

INTEGRATED

SilverEGG Media offer bespoke marketing solutions for companies hoping to boost their online and offline presence. Specialists in SEO, Content Marketing and Rebranding.

Silver Egg MediaTel: 01254 664282Contact: Chris [email protected]://silvereggmedia.co.uk/

DIGITAL MARKETING

Communicate by voice, mail or online – BSS Contact, BSS Reach and BSS Digital – our three core elements combine seamlessly to provide the best ways for you to reach your customers.

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INTEGRATED SOLUTIONS

Based in Teesside, Visualsoft is one of the UK’s leading eCommerce companies, providing website design, development and online marketing services to over 550 online retailers.

Visualsoft eCommerceTel: 01642 633604Contact: Sarah [email protected]

ECOMMERCE

A full service communications agency delivering PR, online & offline comms, strategic advice and relationship building to organisations of all sizes.

Responsive e-commerce experts. Instead of a jack-of-all-trades, you work with an agency focussed where the best work can be produced, time after time.

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Hit Search are an online marketing agency with specialisms in SEO, PPC, Attribution Modelling and Conversion Rate Optimisation aimed at helping our clients grow online.

Hit SearchTel: 0845 643 9289Contact: Andy [email protected]

R.O.EYE offer a comprehensive range of digital performance services including Affiliate Management, Social Media, Email Marketing, Mobile and Lead Generation.

R.O.EYETel: 020 3440 4235Contact: Donna [email protected] www.roeye.com

JHTel: 0115 933 8790Contact: Jamie [email protected]

PR

SEARCH

DIGITAL PERFORMANCE SERVICES

The only email marketing solution designed specifically for agencies. Instiller is white label, easy to use and can be customised for each of your clients.

InstillerTel: 0870 41 777 41Contact: Adi [email protected]

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ECOMMERCE

Here you will find a selection of our online directory advertisers. To view their company profile, work and case studies go to www.thedrum.com/directory Contact Stephen Young on 0141 559 6070 or [email protected]

DIRECTORY49

+44(0)1376 533388 • www.vcg-catapult.com • [email protected]

DIRECTORY_2.indd 49 11/04/2014 11:14

www.thedrum.com 16.APR.14 THE DRUM50AGENCY Q&A

Smithfield Market is renowned as Europe’s best known meat market. But tucked away, nestled between traders in a modern office building, is one of Europe’s most ambitious digital performance agencies, Found. Managing director Tina Judic had a ‘meat’ and greet with The Drum Network’s MD Richard Draycott to talk about her plans for her agency.

What is Found’s mission statement?To build the best UK digital performance agency, which will earn our partners’ respect through our continual focus on exceptional delivery and results; internal respect through our ever-evolving innovation and team spirit; and industry respect for our thought leadership and evolution.

What did you aim to achieve with the agency when you set out?In the early days, 100 per cent of our business was derived through third parties, including affiliate networks and agencies, with no direct relationships or contracts with merchants – limiting our ability to showcase the team’s knowledge

and expertise, and demonstrate our passion for both delivery and results. Further, as one of the biggest PPC affiliates in the space, we could see how many other agencies, who were being paid management fees or percentage of spend fees, were managing campaigns so poorly and inefficiently. It was apparent there was a gap for not just a performance-focused business, whose core strengths were in return on investment through real generic breadth of terms, but one that equally had the personality in delivery and focus to help clients shape their businesses online. Our goal was to bring our ethos, values and success to a broader audience.

How has the agency developed? We took the decision to rebrand as Found in 2010. The business has grown considerably since then, with some of our key achievements being: the launch of an SEO offering, which now contributes to 50 per cent of agency turnover; achieving significant industry awareness with numerous award shortlists and wins – particularly for our

performance focus and innovative approach; key client wins that started out as one channel contracts, but, as a result of our approach, have grown to become multi-faceted digital campaigns; and, of course, our team.

What have been the biggest changes in the agency landscape since you launched?This industry moves so quickly – the biggest challenge (and one we relish) is to stay head of the pack and keep our fingers on the pulse at all times, helping our clients make the next smart move – whether it be trialling a new platform, a new channel or approach, to fully exploring the scope of digital performance.

However, in terms of search developments, Google alone makes over 200 algorithmic changes a year – the launch of Enhanced Campaigns gave us an opportunity to enable our clients to continue to benefit from mobile search targeting when others were struggling; the launch of Product Listing Ads resulted in the launch of our own product, FeedLab, to provide clients with highly optimised PLA campaigns, no matter the quality of their own product feed. We’ve also had a number of prospective clients approach us because they’ve experienced a Google penalty, resulting in a drop in rankings and exposure – it’s never been more integral for companies to focus on content quality and customer experience, and to consider SEO as a digital approach rather than simply a channel.

From a complete industry perspective, one of the biggest changes has been the focus on attribution and lead nurturing, with much more attention on not just the return on investment, but the journey a user encounters too. To this end, automated marketing is already leading the way for

omni-channel lead nurturing, and is something that Found is already bringing to the table during client strategy planning.

Thanks to the way our personal engagement with technology has transformed, from the subconscious multi-screen usage of mobile and PDA devices, to the vast amount of conversations and opinions that we share in social forums, we’re able to understand, plan and react to people’s intentions more so than ever before.

What is Found’s USP?Proven results. First, and foremost, Found is a digital performance agency – renowned for its strategic approach and excellence in integrated search marketing. We know it’s all about the results, and we know how to achieve them, to deliver the best return for our clients.

We’re equally a technology-agnostic business, meaning we don’t focus our time, energies and client fees on creating proprietary tools (unless, of course, the tools we require aren’t good enough or simply do not exist), especially when there

NOT FOUND WANTING

“IT’S INTEGRAL FOR COMPANIES TO FOCUS ON CONTENT QUALITY AND CUSTOMER EXPERIENCE AND TO CONSIDER SEO AS A DIGITAL APPROACH RATHER THAN A CHANNEL.”

Tina Judic, centre, and the team at Found

TD_35_08_APR16_NETWORK.indd 50 11/04/2014 15:44

THE DRUM 16.APR.14 www.thedrum.com AGENCY Q&A51

“IT WAS A REALLY GOOD TECHNICAL FIT, AS IN EPIPHANY EXCELS IN SEARCH AND JAYWING IS EXCELLENT AT DATA SCIENCE AND BRAND COMMUNICATIONS.”

is such a plethora of brilliant technologies we can leverage. Why try and create the best bid management software when you have companies like Marin already delivering global success in this area? Instead, we focus on selecting the most suitable technology platforms and plug them into our reporting interface, ProFound, to ensure seamless transitions and insights for clients – new and existing.

What sectors are you most active in? We work across a variety of sectors. Whilst we have lots of expertise, and are most prolific across travel and retail, we also have experience in recruitment, mobile telecomms, FMCG, utilities and finance. We also work with a variety of companies, whether they be large multi-faceted

global organisations or small start-ups, and therefore know we can make a difference in each and every sector.

Which work gives clients the best impression of what your agency is capable of?There’s lots of work from various teams that I could mention, however some output that I’m particularly proud of includes: the recent content and search campaign to support our client, Canterbury, and its involvement in the Six Nations; the positioning of Found itself – this truly came out of the core of the team, to define who we are, what we do and how we wanted to project ourselves; the continued great results we’ve seen across SEO and PPC for a variety of our clients, from global recruitment company Randstad to the fantastic EdPlace,

a start-up company dedicated to empowering parents in their children’s education; and much, much more.

What key appointments have you made? If there’s one thing I’m proud of, it’s the brilliant people I’ve worked with as the agency has developed. I’m utterly inspired – and couldn’t be happier – when I see my team develop and truly flourish; from new starters in their first jobs, to experienced heads of teams. In respect of helping me to shape the agency and steer it on a clear path, some key appointments include Flo Bundy (operations director), Sam Morris (client services director), Stephen Dart (sales director), Greg Burgess (director of digital advertising) and Ross Boyd (product and strategy director).

Found is a member of The Drum Network. If you would like to find out more about The Drum Network and how it can help support you and your growing agency please visit www.thedrum.com/network

TD_35_08_APR16_NETWORK.indd 51 11/04/2014 15:44

www.thedrum.com 16.APR.14 THE DRUM52HAIL THE DRUM

A TALE OF TWO TAXIS

TD_35_08_APR16_TAXI.indd 52 11/04/2014 15:39

THE DRUM 16.APR.14 www.thedrum.com HAIL THE DRUM53

The Drum had its very own fleet of taxis on the streets of London recently. Here’s how they got on.

During this year’s Advertising Week Europe, The Drum caught up with some of the festival’s key speakers, inviting them into the back of our branded taxi and ferrying them around London, to and from various events.

The resulting interviews, shot in Ultra HD, will be screened on thedrum.com over the coming weeks, with the first, a candid chat with Channel 4’s Krishnan Guru-Murthy about short-form video where he calls on advertisers to “use budgets to make content, not ads”, available to view now at po.st/ot0uPr.

However, delegates at the festival might have noticed a much less impressive vehicle doing the rounds – the Shabby Cab. With the second day of the gathering falling as it did on 1 April, The Drum thought it might be fun to buy a beat-up old taxi,

long past being useful or relevant, and cover it with branding for ‘Campain’ and ‘MarketingWeak’. This was then hauled around the streets of London on the back of The Drum’s very own pick-up truck.

While The Drum (and many others, judging by reactions) found this rather amusing, we were saddened to hear that our good friends at Centaur and Haymarket didn’t receive the joke in the good humour it was intended.

So, rather than sour a much valued friendship, The Drum has taken every step to remove all traces of the offending vehicle, dragging it off to the scrapyard and crushing it, with editor Gordon Young promising that this will “never, ever, ever, ever, ever happen again”.He even made a video to show how sincere he is (po.st/BRhvAc). Sorry guys.

A very sombre Gordon Young offers his wholehearted and most sincere apologies to both Campaign and Marketing Week

TD_35_08_APR16_TAXI.indd 53 11/04/2014 15:39

www.thedrum.com 16.APR.14 THE DRUM54THE lAST WORD

FOR MORE blOgS gO TO THEDRUM.cOM/OpiniOn

No you haven’t accidentally picked up Drain Trader instead of The Drum. I’m referring to the unfortunate ‘radiator/drain’ way of stereotyping people in the workplace.

Apparently, ‘radiators’ are optimists who warm others with their positive thinking, while ‘drains’ suck the life out of their colleagues with their negativity.

There’s no mistaking the value judgement in this categorisation. Radiators are a positive force for the better, while drains are a negative force for the worse.

This got me thinking about how positive thinking, as practiced by radiators, is celebrated as the only way to get on at work, and is often perceived as the answer to other problems.

‘Always look on the bright side’, ‘smile and the world smiles with you,’ ‘have a nice day’ and even the builders’ favourite ‘give us a smile, love,’ are all everyday examples of our strong, some would claim natural, inclination to positivity.

I take a different, heretical view in saying that there is, surprisingly, positive power in negative thinking.

In my way of thinking (negative, you may have guessed), negative thinking actually makes me happy.

Maybe that’s because, as the American psychologist Barry Schwartz puts it, “the secret to happiness is low expectations”. When your glass is permanently half-empty, you can only ever have pleasant surprises.

My natural negativity keeps me on my toes so that I never go into a meeting assuming that

everything will be ok, so reducing the chances of things going wrong, and of course that makes me happy.

Contrary to popular belief, drains don’t throw the towel in without a fight, curl up in a ball in the corner, and bemoan their ill-fortune. Quite the opposite, in my experience. We never stop trying, because we’re certain that it’s all going to go wrong.

Could this be more than just my personal philosophy?

Well, I found support for its broader applicability from the American author Barbara Ehrenreich, in her book ‘Smile or Die: How Positive Thinking Fooled America and the World’.

This is a compelling investigation into the widely-held and deeply-felt conviction that positive thinking is essential to our health, wealth and wellbeing.

Positive thinking, Ehrenreich argues, may actually make illnesses worse, prompt us to seek wars we can’t win, make us waste time and money improving ourselves when the real impediments to happiness lie outside our control, and make bankers believe they’re masters of our universe.

Ehrenreich also points out that surely

the reason that our early ancestors survived was because

they were hard-wired to be vigilant, on-guard and expecting the worst case scenario of T-Rex in the long grass, rather than to assume that everything would turn out all right.

So I say, let’s stop seeing negativity always as a dark force. Instead, let’s start regarding it as a positive philosophy, making a positive contribution to work and the workplace.

After all, as Drain Trader might put it, where would we all be without our drains?

In the shit.

Malcolm White, founder and planning director at creative communications agency Krow, has the last word this issue, sharing his philosophy that, for agencies, negative people can be just as useful as positive people.

Malcolm White founded Krow (work backwards) with John Quarrey, Nick Hastings and Barry Cook in 2005, taking strategic lead across clients including Fiat, Pets at Home, Natural History Museum, Ferrero, Hobbycraft and PayPal, and helping to grow the business to what it is today, with most recently reported billings of £108m.

WHy DRAinS ARE AS gOOD AS RADiATORS

TD_35_08_APR16_LAST_WORD.indd 54 11/04/2014 15:52

THE DRUM 16.APR.14 www.thedrum.com RECRUITMENT55

Search for the latest jobs all across the UK at www.thedrum.com/jobsDigital • Marketing • Design • Media • PR • Advertising • Creative

GROUP BRAND MANAGER

GRAPHIC DESIGNER

MARKETING MANAGER - BRANDING

SENIOR ARTWORKER

COMMUNICATIONS EXECUTIVE

SENIOR ACCOUNT MANAGER

INTERNAL COMMUNICATIONS MANAGER

DIGITAL ACCOUNT MNGR / SNR DIGITAL ACCOUNT MNGR

SENIOR DIGITAL DESIGNER

AWESOME DESIGNER WANTED

As group brand manager for the Activate Learning group, you will play a leading role in creating and strengthening its group brands and so raise its profi le and improve student and staff recruitment. http://bit.ly/OO2bop

You will have an eye for detail and be capable of effi ciently multi-tasking your workload to suit very short deadlines. You will be confi dent and friendly as you’ll be required to deal with clients face-to-face and over the phone. http://bit.ly/1qn2pkE

Looking to lead the way in Branding? This could the marketing role for you. Branding agency looking for an industry experienced marketing manager to head up the marketing offering. http://bit.ly/1iAzEe8

This brand works extremely hard to produce stunning marketing collateral that really gets their customers to buy into their products and become loyal brand ambassadors … whilst at the same time offering an amazing working environment. http://bit.ly/1jxJWyZ

A fantastic opportunity has arisen for a communications executive to join an exciting business and support the delivery of acquisition trading targets. To achieve this you will deliver campaigns that are both across online and offl ine media. http://bit.ly/1gRUbK7

As a senior account manager, this agency is looking for someone with experience in branding, brand positioning, identity, to multi-channelled rollouts. But also experience in more content-focused projects. http://bit.ly/1efTtLM

Scotia Gas Networks is looking for an internal communications manager to join its busy communications team to help deliver internal communications to 3,800 fi eld and offi ce based employees. http://bit.ly/PWUzRK

Multi-award winning agency looking for a digital account manager or senior digital account manager to join its team. Looking for a highly personable account handler who has a proven background in working collaboratively with clients. http://bit.ly/1oSuhQ6

You will get the opportunity to work across digital, editorial & branding projects, on some of the UK’s leading retail & technology brands. Working closely with the lead designer & account teams. http://bit.ly/1geQbE4

We need you to hit the ground running, so you’ll have at least two years agency experience, tons of energy and bags of ideas. And since you’ll be dealing directly with clients on a daily basis, you’ve got to be able to get on well with people. http://bit.ly/1oSuran

South East | Up to £43,688 per annum

West Midlands | Salary negotiable - Guide 22k

London | £30,000 - 38,000

East Midlands | £26,000 - £30,000 per annum

South West | £35,000

London | £35,000 - £40,000 per annum + benefi ts

Scotland - West Central | Up to £35,000 (DOE)

North West | £DOE

London | £35,000 - £42,000 per annum + benefi ts

Scotland - West Central | £Negotiable

NEW JOBS UPLOADED DAILY AT WWW.THEDRUM.COM/JOBS

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