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Advertising Age December 20, 2010 About the Annual BYLINE: BRADLEY JOHNSON AND KEVIN BROWN SECTION: Pg. 4 Vol. 81 LENGTH: 229 words

Welcome to Annual 2011, Ad Ages almanac of industry data and analysis. We pulled together key stats and rankings from the Ad Age DataCenter to give you quick access to facts on marketers, media and agencies. Weve included an exclusive directory of the nations top 10 advertisers with a roster of agencies, brands and executives. Want more detail? Go to Ad Ages updated database of the top 100 advertisers: AdAge.com/marketertrees2010update. The 18-month recession officially ended in June 2009, capping the longest downturn since the Great Depression. The economic expansion has been under way for 18 months-as long as the recession. The economy is growing, but this is a fragile, weak recovery. Consumers are cautious and skeptical: The Thomson Reuters/University of Michigan index of consumer sentiment was only slightly higher in December 2010 (preliminary read of 74.2) than December 2009 (72.5). The biggest problem: jobs. The nations 9.8% unemployment rate in November 2010 was little changed from the recession/early-recovery jobless peak of 10.1% in October 2009. The economy has added nearly a million jobs since total U.S. employment hit its recession/earlyrecovery nadir in December 2009. But that still means 7.4 million fewer consumers have jobs today than at the all-time employment peak in December 2007, the start of recession. Things are getting better. Slowly. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

JOURNAL-CODE: AA

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Advertising Age December 20, 2010 A sign of hope in ad biz: Help wanted; Ad industry employment is starting to see a (slow) rebound. Digital accounts for one in eight media jobs BYLINE: BRADLEY JOHNSON SECTION: Pg. 6 Vol. 81 LENGTH: 258 words

The recession officially ended in June 2009, yet the U.S. unemployment rate (9.8%) has barely budged from the peak (10.1%) reached during the downturn. But you cant really call this a jobless recovery: The private sector has added at least some jobs every month since the total U.S. payroll hit bottom in December 2009. The ad market is participating in this-slow-job recovery: U.S. ad industry employment-ad/marketing services plus media-reached its downturn-period nadir in February 2010, according to Ad Age DataCenters analysis of Bureau of Labor Statistics data. Within ad/marketing-services sectors, staffing also hit its recession/early-recovery bottom in February 2010. Media employment fell to its low point in May 2010 after measured-media spending turned northward in first-quarter 2010 (see P. 8). Most ad/media sectors have seen at least some job gains over the past year. Two exceptions: Newspapers and magazines continue to trim jobs, though the level of monthly cutbacks has slowed. While ad and media companies are doing some hiring, there are still lots of empty cubicles.

Ad/marketing-services firms employ 84,300-or 11%-fewer people now than at the all-time peak of November 2007, just before the recession. Media companies, meanwhile, employ 124,600-or 14%-fewer people now than at the start of recession. The hot spot for media jobs? Internet media companies and web portals. This sector has added 14,300 jobs since the recession began. Internet media companies and web portals now account for a record 12% of U.S. media employment. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 20, 2010 Ad spending is on the rise, but growth rate may slow; Whats the deal? Marketers are going private and public, buying and selling, focusing on core brands BYLINE: BRADLEY JOHNSON SECTION: Pg. 8 Vol. 81 LENGTH: 315 words

Marketers in 2011 will boost U.S. ad spending 2.8%, down slightly from 2010s 3.2% growth rate, according to the average of three major media-agency forecasts. Worldwide ad spending will grow 5.3% in the new year, below the 5.9% growth seen in 2010, according to the average of three forecasts from Interpublic Group of Cos. MagnaGlobal, Publicis

Groupes ZenithOptimedia and WPPs Group M. U.S. ad growth in 2010 turned out better than predicted. A year ago, forecasters figured 2010 U.S. ad spending would be flat or down a bit. Forecasts for 2011 suggest moderate growth in ad spending, reflecting the economys slow recovery. Slow ad growth is a welcome change from the recent past: 2009 U.S. ad spending tumbled 11.9% (average of three media agencies), the biggest drop since the Great Depression. The 18-month recession officially ended in June 2009. U.S. measured-media spending turned north in first-quarter 2010, the first year-over-year quarterly gain since first-quarter 2008, according to WPPs Kantar Media. Marketers had a busy year of going private, going public and deal making: - Burger King Holdings was bought by private-equity firm 3G Capital. - Ford Motor Co. sold Volvo to a Chinese automaker, scrapped Mercury and sold most of Fords stake in Mazda. - Fortune Brands announced plans to spin off or sell much of the conglomerate so it can focus on distilled spirits. - General Motors Co. pulled off the biggest initial public offering in history-a stock sale valued at $23.1 billion, including common and preferred shares-as it put 2009s bankruptcy in the rearview mirror. - Kraft Foods bought British candy maker Cadbury and sold Krafts frozen pizzas (DiGiorno) to Nestl (Stouffers). - Nestl sold its 52% stake in eye-care products firm Alcon to Novartis. - Qwest Communications agreed to be acquired by CenturyLink. - Unilever agreed to buy hair-care firm Alberto-Culver Co. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 20, 2010 Revenue rising and a new No. 2 ad medium: internet; Next chapter: 14 companies on Media 100 dig out of bankruptcy as firms creditors trade debt for equity BYLINE: BRADLEY JOHNSON SECTION: Pg. 24 Vol. 81 LENGTH: 307 words

The recession officially ended in June 2009, and the media business began a modest recovery in firsthalf 2010. Reported revenue for the nations top media firms climbed 6.1% in the first six months of 2010, according to Ad Age DataCenters analysis. U.S. media employment has added 4,600 jobs since hitting its downturn nadir in May 2010 (see P. 6). Measured-media spending turned north in first-quarter 2010, marking the first year-over-year quarterly gain since first-quarter 2008, according to WPPs Kantar Media (see P. 8). Thats a far cry from 2009, when net U.S. media revenue for the 100 Leading Media Companies fell for the first time since Ad Age began ranking media firms in 1981. Media 100s decline in 2009 revenue-3.8%-would have been far worse were it not for cable. Video and broadband providers-cable systems, satellite, telecoms-managed a 4.3% revenue gain in 2009, reflecting their ability to hike prices and upsell consumers on premium broadband and video services. Media revenue held up comparatively well during the recession because of the diversity of revenue sources. Subscriptions and fees, for example, fared better than advertising. The year just ending marked a sea change: The internet (including mobile) surpassed newspapers in 2010 U.S. ad revenue, making the internet the second-largest ad medium behind TV, according to Interpublic Group of Cos. MagnaGlobal.

So just how rough was the media recession? Remarkably, 14 members of the Media 100 went through bankruptcy reorganization in 2009 and 2010, with creditors trading debt for equity. The latest three filed for Chapter 11 in November 2010: American Media (National Enquirer, Shape, Star); Local Insight Media Holdings, the third major U.S. yellow-pages publisher to go through a recent bankruptcy; and Metro-Goldwyn-Mayer, a storied movie studio swamped by debt. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 20, 2010 TOP FIVE U.S. ADVERTISERS AND SELECTED ACCOUNTS SECTION: Pg. 8 Vol. 81 LENGTH: 330 words

Advertising and media agencies listed by agency parent company. Account listings not comprehensive. See profiles of the 10 largest advertisers, starting on P.

18.
1. PROCTER & GAMBLE CO.

$4.2B
U.S. 2009 total ad spending. Source: Ad Age DataCenter. OMNICOM GROUP BBDO Worldwide: Braun, Gillette, Venus TBWA Worldwide: Pur PUBLICIS Leo Burnett Worldwide: Always, Cheer, Gain, Herbal Essences, Secret, Tampax Kaplan Thaler Group: Aussie, Cascade, Dawn, Infusium, Swiffer Publicis USA: Bounty, Charmin, Crest, DayQuil, Metamucil, NyQuil, Oral-B, Pepto-Bismol, Prilosec, Puffs, Vicks VapoRub Saatchi & Saatchi: Olay, Pampers, Tide, Fixodent, Head & Shoulders, Iams, Luvs MediaVest USA: Media services WPP Grey: Clairol, CoverGirl, Dolce & Gabbana, Downy, Febreze, Pantene, Pringles OTHER Wieden & Kennedy: Old Spice AEGIS GROUP Carat: Communications planning, digital marketing and media services - Bounty, Charmin, Gillette, Luvs, Pampers, Puffs, UnderJams 2. VERIZON COMMUNICATIONS

$3.0B
DENTSU
McGarryBowen: Verizon Wireless, smart phones PUBLICIS Zenith Media USA: Media services - Verizon Telecom and Business, Verizon Wireless INTERPUBLIC McCann Erickson Worldwide: Verizon Telecom and Business UM: Media services - Verizon Telecom, Verizon Wireless 3. AT&T

$2.8B
OMNICOM
BBDO Worldwide: AT&T WPP MEC: Media services 4. GENERAL MOTORS CO.

$2.2B
INTERPUBLIC
Campbell-Ewald: OnStar McCann Erickson Worldwide: GM corporate OMNICOM Goodby, Silverstein & Partners: Chevrolet PUBLICIS Leo Burnett Worldwide: AC Delco, Buick, GMC, GM Goodwrench, GM Parts Fallon Worldwide: Cadillac Starcom USA: Media services 5. PFIZER

$2.1B
DENTSU
McGarryBowen: Chantix, ThermaCare, Viagra HAVAS Health4Brands: Enbrel, Pristiq OMNICOM GROUP Entre Health: Caduet, Celebrex, Lipitor Tribal DDB: Advil, Robitussin, ThermaCare PUBLICIS GROUPE Kaplan Thaler Group: Celebrex, Lipitor, Lyrica WPP Grey: Advil Cold & Sinus, Dimetapp, Preparation H, Robitussin Ogilvy CommonHealth: Caltrate, Dimetapp, Robitussin AEGIS GROUP Carat: Digital marketing and media services LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 20, 2010 Agency stocks on rebound as investors bet on ad recovery; U.S. seeing solid gains in 2010 agency revenue, but agencies still cautious about adding to headcount BYLINE: BRADLEY JOHNSON SECTION: Pg. 28 Vol. 81 LENGTH: 312 words

Theyre back: Shares in WPP, Omnicom Group, Publicis Groupe and Interpublic Group of Cos. in December 2010 were at or near their highest points since the start of the 2007 recession. Agencies are in recovery mode. U.S. ad agencies have added 9,200 jobs since bottoming at a 16-year low in January 2010, according to figures from the Bureau of Labor Statistics. Agency companies recorded solid revenue gains in 2010, reflecting both a rebound in traditional advertising and growth in digital offerings and marketing services. U.S. revenue growth has been particularly strong. WPP said in its third-quarter 2010 financial report: The United States, which was the first region affected by the global economic crisis, has been the first to recover. WPP Group Chief Executive Martin Sorrell said at a December 2010 investors conference: The amazing thing about this year is that America is performing, the United States is performing like an emerging market. WPP said U.S. revenue in the first nine months of 2010 rose 7.4% (excluding effects of currency movements). Omnicom reported 6.6% U.S. revenue growth through September, with 7.2% organic revenue growth (which factors out effects of currency movements and acquisitions). Publicis saw nine-month organic revenue growth of 8.4% in North America, second only to 10.4% growth in Latin America. Interpublics U.S. revenue grew 8.9% in the first three quarters, more than double its growth rate in international markets. Back to business as usual? Not exactly. U.S. ad agency employment is still 11.8%-or 22,100 jobsbelow its level at the start of the recession. Agency bosses are cautious about hiring. At the investors conference, Mr. Sorrells presentation slides included this imperative: Key management task will be to balance revenue growth and headcount growth.

More work doesnt always translate into a lot more jobs. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 COOL MARKETER APPS SECTION: Pg. 23 Vol. 81 LENGTH: 53 words

Muji iPad apps Starbucks Card Mobile App Webers On the Grill iPad app GE Mood Cam iPhone app Best Buy Movie Mode app Disney Tickets Together Facebook app Tiffany Engagement Ring Finder iPhone app Delta Ticket Window Facebook app

Big Fork, Little Fork iPad app Walmarts Crowdsaver Facebook app To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 COOL SOCIAL-MEDIA CAMPAIGNS SECTION: Pg. 22 Vol. 81 LENGTH: 22 words

Red Cross/Haiti Pepsi Refresh Murphy USA It Gets Better Edge Shave Gel GE

Orabrush Coca-Cola Heinz Old Spice To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Best Covers SECTION: Pg. 20 Vol. 81 LENGTH: 620 words

Elle January: Lady Gaga Youd think Lady Gaga covers would be easy, given her natural grandiosity, but the potential she provides and, of course, the glut of competing Gaga covers probably make them harder than most. Although the newsstand edition of the January Elle showed a Gaga so normalized she couldve been anyone, this black-and-white subscribers-only cover let the stars full-color persona come through.

The Atlantic May: Fat Nation Marc Ambinders feature used his own struggle with weight to talk about America, where he says four out of 10 people may be obese by 2015, increasing chronic disease and health-care costs. Alex Ostroys image of an obese Statue of Liberty is a bit humorous, very direct and completely effective. The New Yorker July 5: After Escher: Gulf Sky and Water The M.C. Escher motif in this Bob Staake cover about the Gulf oil spill is visually clever. But it also pays off logically by illustrating the connection between the ocean and the span of the ecosystem that depends on its health. Cleveland Plain Dealer July 9: Gone. Heres a newspaper front page that actually outdid most magazine covers this year by invoking the classic George Lois-era Esquire aesthetic to bid LeBron James farewell-and, a little angrily, point out his failure to bring Cleveland an NBA championship. New York Aug. 2: Is James Franco for Real? You must love this simple but surprisingly successful tactic for communicating that James Francoactor, conceptual artist, grad student-is weird and kind of funny: run his photo sideways. Bloomberg Businessweek Aug. 9-Aug. 15: Back So Soon? Great graphic design, which has become a regular staple of Bloomberg Businessweek covers, is on full display here as the magazine pitches a cover package on tax cuts from George W. Bushs era. When youre funny and visually arresting on a subject like tax policy, youre doing something right. The New Yorker Oct. 11: Discovering America A single sad image on the front of The New Yorkers annual Money Issue, depicting a couple stressing over bills while their daughter draws pretend money on the floor, was able to continue into a deeper vignette over two pages of a gatefold. The full comic by Chris Ware delivers a convincing portrait of this moment in the economy.

Wired November: 100% Natural Wired got plenty of criticism for using anonymous cleavage with the cover line 100% Natural to tease a feature on breast-tissue engineering. Would it be so hard for Wired to put a woman on the cover for actual accomplishment in science, technology or business? But the art perfectly illustrated a look at using stem cells for breast repair and augmentation, hopefully a step on the way to improving and rebuilding damaged organs. The ensuing dialogue between Wired and its critics was a bonus. Time Aug. 9, What Happens if We Leave Afghanistan The photo is harsh enough to make you wonder whether it exploits its subject or readers, or both. But the portrait-of an 18-year-old Afghan woman who was sentenced to have her nose and ears cut off after she fled her husbands abusive family-reflects a reality thats harsh. I would rather confront readers with the Talibans treatment of women than ignore it, Managing Editor Rick Stengel wrote in a note to readers. Harpers Bazaar December: Katy Perry Its a striking cover in any case-like Elles Gaga cover from January, its a subscribers edition, which means that it doesnt have to cram in all the cover-line promises that a newsstand edition needs-but it also evokes an iconic 1950 Vogue cover, a closeup of the model Jean Patchett. Were not sure Katy Perrys Swarovski-encrusted lips will become quite such a classic, but theyre surely festive enough to light up a cover on holiday fashion. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Best Ad Songs SECTION: Pg. 22 Vol. 81 LENGTH: 552 words

Sleigh Bells, Riot Rhythm Honda CR-Z Riot Rhythm is one of the years most unabashedly fun pop songs that you probably havent heard yet. Unless youve caught this Honda ad, which extracts some of the best moments from this track and splashes them up against a spinning CR-Z, making it feel bigger and brasher than any hybrid ever had a right to be. Bibio, Lovers Carvings Amazon Kindle Amazon does its best Apple impression with this catchy Kindle commercial, which makes terrific use of a jubilant track from British folk-pop singer Bibio. E-reading never sounded so adorable. Grizzly Bear, Two Weeks Volkswagen Brooklyns Grizzly Bear doesnt exactly bring the yuks on their albums, so its a little bit surprising, and a little bit inspired, that Volkswagen picked this song for a Super Bowl spot. The tune is a great counterpoint to the humor of the big game, and this ad is only funnier and more oddly touching because of it. Vampire Weekend, Holiday Tommy Hilfiger Were torn on this one (see list below). Say what you will about Tommy Hilfigers first branding spot in five years, but the retailer couldnt have picked a more zeitgeisty band (or apropos track) to score its return to the airwaves. Edward Sharpe & The Magnetic Zeros, Janglin

Ford Fiesta There was really no escaping Edward Sharpes song Home in 2010, as it landed in not one but two cellphone commercials and again in an NFL ad. Because this ubiquity doesnt work so well with all these brands, were going with this whimsical Ford ad, which is well shot and benefits from a great horn section and group vocals. 8-bit jingle State Farm State Farms nearly 40-year-old jingle got a much-needed Gen Y remake this year, courtesy of entertainment agency Translation and music house Duotone, with this 8-bit, Nintendo-fied remix of its classic Like a good neighbor, State Farm is there. Black Keys, Tighten Up Subaru The Black Keys put out a fantastic album this year called Brothers that is as sexy and energetic as anything theyve ever produced, and Subaru and its agency were smart to pick up this track from it. The song piles on layers one piece at a time, and, by the time you discover where its headed, you realize that the ad is just about a guy who really loves to rip his car through puddles. Sometimes thats all you need. Temper Trap, Sweet Disposition Diet Coke First introduced to mainstream audiences last year courtesy of trailers for 500 Days of Summer, this Temper Trap track became the go-to song for hipster branding via this series of city-fied Diet Coke ads. Black Sheep, The Choice Is Yours Kia Soul Why hoodie-wearing hamsters driving household appliances? And why this 20-year-old hip-hop track? We dont know how this picture came together, but were glad it did. This viral hit from David & Goliath has notched a few million views and informed lots of folks who missed Black Sheep the first go around. We keep watching it, hoping to understand its logic, but all we know is that this track still kills. David Banner, Evolve Gatorade G-Series

Gatorade has evolved, and so has the art of jingle creation. The sports drink tapped hip-hop producer David Banner to write an original Americana track inspired by the brands evolution, and enlisted Blackstreet vocalist Kermit Quinn to do his best Bo Diddley impression. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Over-the-Top Menu Offerings SECTION: Pg. 21 Vol. 81 LENGTH: 721 words

Dennys Fried Cheese Melt Unveiled in August, the Fried Cheese Melt is a fine example of restaurants taking two fairly boring menu items and slapping them together to form a new product. This is an ideal sandwich for someone who is unable to decide between mozzarella sticks and a grilled cheese sandwich-and thats exactly what this is: mozzarella sticks inside a grilled cheese sandwich. Because, you know, grilled cheese sandwiches never have enough cheese. Friendlys Ultimate Grilled Cheese Burger Melt You are hungry for a burger. No, wait. You are hungry for a grilled cheese. No, actually, you are really hungry and want two grilled-cheese sandwiches. But maybe that burger, too. You are in luck,

because East Coast chain Friendlys this year announced the Ultimate Grilled Cheese Burger Melt. This conglomeration uses two grilled-cheese sandwiches as the bun. It is also served with a totally unnecessary order of fries. Calories: 1,500; 870 of which are from fat; 97 grams of fat; 2,090 milligrams of sodium. KFCs Double Down KFCs low-carb (and Atkins-friendly?) Double Down-two pieces of bacon and slices of cheese sandwiched between two fried chicken breasts-generated major buzz when it came on the scene earlier this year. It was beloved by some, reviled by others. But its calorie count is low when stacked against most of the items on this list. At 540 calories, the Double Down contains nearly half the calories of the Friendlys Mac & Cheese Quesadilla, below. Friendlys Mac and Cheese Quesadilla Its one thing to offer outrageous items on the regular menu. It is quite another to place such items on the childrens menu. Friendlys earlier in the year introduced the Mac and Cheese Quesadilla. According to the menu, its a cheese quesadilla filled with mac and cheese. Add bacon or a Friendly Frank to get to the next level! The basic mac and cheese quesadilla-without the Friendly Frank, side or drink-contains more than 1,000 calories. Hardees Loaded Biscuits N Gravy Hardees Loaded Biscuit N Gravy, introduced in April, consists of two eggs and two sausage patties served open-faced on a biscuit, covered with a liberally applied serving of sausage gravy. This seems fairly innocuous until further examination. Not only does it seem redundant to have two sausage patties and sausage gravy, but the meal has 1,000 calories and 75 grams of fat. Burger King Ultimate Breakfast Platter Among the new breakfast items offered by BK is the Ultimate Breakfast Platter: scrambled eggs, sausage, hash browns, fluffy pancakes and a superfluous biscuit. It seems identical to McDonalds Big Breakfast but somehow packs in 220 more calories: 1,310 calories and 79 grams of fat. Sonics Tex Mex Footlong Quarter Pound Coney Sonic this year introduced its limited-time Tex Mex Footlong Quarter-pound Coney, a foot-long hot dog topped with chili, jalapenos, onions, Fritos, cheese and a Southwest chipotle sauce. This menacing hot dog contains 1,134 calories, 80 grams of fat and 2,551 milligrams of sodium. Carls Jr. Footlong Cheeseburger Carls Jr. is no stranger to over-the-top menu items geared toward teenage/young (and possibly stoned) men. This year was no exception with its limited-time offer of a foot-long cheeseburger, tested in Southern California and Indiana. Its three hamburger patties on a foot-long sub roll. Theres

not much more to say except its a foot-long cheeseburger. Sonics Holiday Spiced Sugar Cookie Blast File under: For Those Looking to Get Diabetes During the Holidays. Sonics limited-time Holiday Spiced Sugar Cookie Blast, made with spiced caramel-flavored ice cream, sugar-cookie pieces and whipped topping, boasts a whopping 829 calories, 91 grams of sugar and 40 grams of fat. For reference, the Food and Drug Administration recommends adults do not exceed a daily intake of 40 grams of sugar. Hardees Double Sausage Egg N Cheese Biscuit Apparently Hardees is on a rampage with its breakfast-menu items. Hardees in January released its Double Sausage Egg N Cheese Biscuit. From the press release: Our Sausage and Egg Biscuit has been a staple item on the breakfast menu for years the only way to improve a classic was to make it twice as meaty, and therefore, twice as delicious. It wont take two of these to fill you up in the morning. No, it certainly will not. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Jargoniest Jargon Weve Heard All Year SECTION: Pg. 15 Vol. 81 LENGTH: 530 words

Choiceful This means something, just not what most users think. The connotation, before it was embraced by business folk, was about making frequent and sometimes contradictory choices, i.e. being fickle. As such, it may secretly be an apt use of language. But deciders should use decisive to convey the intended meaning. Open the kimono The image of corporate executives gently loosening and dropping their kimonos in advance of Geisha-like acts with one another is very disturbing. But it, too, may be secretly apt. The failure of so many deals suggests the due diligence described by this phrase focuses too much on the heat of the moment and too little on the morning after. Touch points Here because its so widely used and sounds so dirty, particularly in the context of many personalcare categories. But it may really be useful language because, unlike so many entries on this list, it describes something real, using fewer words or syllables than the alternatives. Even so, please keep your touch points inside the kimono unless asked otherwise.

360

Marketing that, like a serial killer perched in a tower, aims in all directions. Also known as holistic, which apparently does the same thing, maybe using herbal medicines. We still like former ColgatePalmolive Co. Chairman-CEO Reuben Marks joke that the combination of the companys shotgun marketing with its 360 approach could create self-inflicted wounds. The new normal A catchall for the dismal post-Great Recessionary world. Lets face it, this feels normal to almost no one and good to even fewer people. In marketing, where rules and conditions of social media, mobile and other digital marketing evolve constantly, its particularly meaningless. Or, maybe thats the new normal - aieee!!! All the way to bright Were not sure how this weirdest of phrases came to be. But it sounds like reports of near-death experiences. Perhaps any marketers who fully master the Zen-like intricacies of social media, where they no longer own brands or shill for them but profit immensely by bathing in the warmth of collective goodwill, are close to meeting that great light.

Social Is there any media left thats not? Or at least that doesnt delude itself into believing it is? Sustainability A good concept gone bad by mis-and overuse. Its come to be a squishy, feel-good catchall for doing the right thing. Used properly, it describes practices through which the global economy can grow without creating a fatal drain on resources. Its not synonymous with green. Is organic agriculture sustainable, for example, if more of the world would starve through its universal application? Monetize Besides not really being a word, it describes something thats often not a strategy. Its roots stretch to the dot-com era, where you lured traffic with free services, then figured out how to get paid. Many, notably those in print journalism, are still working on that last part. Then again, so is much of social media. At the end of the day This pernicious weed of language takes six words to say what ultimately, or perhaps better still, nothing at all, could convey better. At the end of the day, well all be all the way to bright. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Biggest Stories of the Year SECTION: Pg. 3 Vol. 81

LENGTH: 1083 words

BP oil spill assaults Gulf Coast Not only did BP spill 158 million gallons of oil into the Gulf of Mexico with an off-shore oil-rig explosion that killed 11 people, it was also pegged as the ultimate hypocrite. BPs 2001 launch of its Beyond Petroleum campaign from Ogilvy had been held up as a rebranding case study. But its disastrous oil spill that flowed for three months this year was a harsh reminder that despite waving the green flag, the company is still very much in the oil business. Its campaign was not only at odds with reality, but BP was seemingly unprepared to deal with the fallout, bungling messages and public statements like this gem from then-CEO Tony Hayward: Id like to get my life back. Campaign finance un-reformed When the Supreme Court ruled in January to overturn two key elements of campaign-finance law-the ban on corporations using their own money to engage in political activity, and the blackout period that prevents certain groups from spending money on ads within 60 days of an election-it set the stage for the biggest midterm-election-spending season ever and a windfall for local TV stations. Of course, it also didnt hurt that Republicans were energized in their fury over President Obamas health-care legislation and looming deficit. Add to that an active tea party, and that resulted in Democratic incumbents, many of them used to easy re-elections, having to fight hard-and spend more-to keep their seats. Cord-cutting becomes reality Much ink has been spilled over the past few years questioning if and when people start eschewing $100 cable TV bills and opt for the plethora of free online content. But this year, it finally arrived: the first total decline in subscriptions since, well, the advent of cable. In the second quarter, the multichannel TV industry-cable, satellite and telcos-collectively lost 216,000 subscribers compared with the same period last year. The trend continued into the third quarter, though many industry execs are quick to point out the losses are still a small percentage of the more than 100 million multichannel subscribers. Bogusky bails on advertising In July, Alex Bogusky, the rock-star adman who has won piles of industry awards, graced many a publications cover, wrote a diet book and, like any real celebrity, boasted scores of fans, haters and Twitter impersonators, left the industry to become, in his words, an insurgent in the new consumer revolution as part of Fearless Revolution, an activism-fueled business platform he founded. Whether or not hes the new Ralph Nader (branded skis, anyone?), his departure shone a light on a bigger question the industry had to ask itself: Why are some of its best creative people leaving if not the industry, then at least the big, established shops that were supposed to be the pinnacle of success in adland?

A new hope: the Apple iPad gives One would think Steve Jobs was the second coming for the publishing industry, the way iPad frenzy hit once the tablet launched in April. There have been scores of iPad editions, including some very nice ones from Wired, Popular Science, The Wall Street Journal and USA Today. Heck, News Corp. boss Rupert Murdoch even assembled a team of pop culture all-stars to create content for his brandnew all-iPad venture, The Daily. Early results show wide disparities in just how valuable the device has been for publishers, with tech and science titles showing more impact, but it will be tough to determine whether that hope turns into dollars until iPads and subscription offers become commonplace. Pepsi bows out of Super Bowl Pepsi yanked commercials for its beverage brands from the 2010 Super Bowl, instead putting its efforts toward Pepsi Refresh Project, a social-media-fueled campaign meant to support communitybuilding projects. Born in January, the campaign proved one of the most hotly watched by fellow marketers. Refresh boosted Pepsis clout at the local level, helping bottlers snag more shelf space and media interest, but it hasnt yet proved whether it can lift sales. For its part, Pepsi is back in the Bowl in 2011. Walmart backs off brand deletion The changing of the guard at Walmart U.S. (see People to Watch, page 8) ushered in a retreat from its recent merchandising strategy that knocked thousands of items off the retailers shelves and cleared the aisles of promotional merchandise. The retailer made moves to give regional and store managers more power over what their stores carry and how merchandise gets displayed, and backed off on demands that marketers fork over their consumer marketing funds for Walmart to use in its programs, refocusing on a return to Everyday Low Pricing. Comcast buys 51% stake in NBCUniversal OK, so the deal still isnt done, and was technically announced last year, in December 2009. Yet Comcasts move has consumed the media worlds attention for the better part of this year. When it closes, it will combine a cable-provider giant with a content giant and it will free GE from some of the stress of being in the media business. Some suspect the new entity will try to make a run at ESPN, by combining NBCs sports assets with Comcasts Versus, but more interesting for advertisers is its potential to drive new couch-potato behavior, such as increasing video on-demand and introducing more folks to new forms of interactive, high-tech advertising. Toyota, J&J fuel recall fatigue Toyota and Johnson & Johnson, two of the worlds most-respected companies, revered for quality and high standards, were subject to grueling recalls in 2010. But they were far from alone. Joining the recall trend were Fruiti Pops frozen-fruit bars, Gap baby swimsuits, four varieties of Kellogg cereals and 550 million eggs. All of that-and the fact recalls today are widely publicized through any of your favorite social-media channels-amounted to a distinct case of numbing recall fatigue for many

consumers. Procurement fights back After more than a year of being lambasted by agencies, internal marketing colleagues and, yes, the trade press, the industrys procurement players set up a task force under the Association of National Advertisers that includes high-powered executives from IBM, Johnson & Johnson, Toyota, AnheuserBusch. The goal? To repair the widespread misalignment between procurement executives and their internal and external marketing partners, and to help those who work in the marketing procurement field become as smart as possible about marketing, creativity and strategy. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 People Well Miss SECTION: Pg. 10 Vol. 81 LENGTH: 865 words

Guy Day, 77 Guy Day, who in 1968 merged the agency he was then running, Faust/Day, with Jay Chiat & Associates to create Chiat/Day, was known as the cool, collected counterpoint to Mr. Chiat. Guy made me sane while Jay made me crazy, said longtime chief Lee Clow. With Mr. Day as president, the agency created groundbreaking work such as Apples 1984 Super Bowl ad and the iconic

Absolut bottle campaign. Mr. Day retired from the agency in 1986 and later led new business for Los Angeles-based Keye/Donna/Pearlstein. Ross Love, 64 A longtime Procter & Gamble vet, Ross Love was the first African-American to serve in the post of VP-advertising at the company. He held the position from 1987 until 1996, when he left to run his burgeoning urban-radio network. As former chairman of the Association of National Advertising, he worked with the Clinton administration to develop the first TV-content ratings. With the Partnership for a Drug Free-America, Mr. Love led a task force that developed anti-drug ads for AfricanAmerican youth. He is remembered by colleagues at P&G as a mentor for many both inside and outside the company. Barbara Bacci Mirque, 56 A senior VP at the Association of National Advertisers until her untimely death from cancer in March, Barbara Bacci Mirque helped bring to the screen family-friendly shows such as Gilmore Girls and Everybody Hates Chris as manager of the Family Friendly Programming Forum. Prior to her arrival at the ANA, Ms. Bacci Mirque worked as a product manager and brand marketer at companies including Frito-Lay, Nestl Foods, Avon, Weight Watchers and Carvel Corp. Jack Pitney, 47 Jack Pitney, VP-marketing for BMW North America, was working to make BMW a warmer, more accessible brand and give it some humanity with its Joy campaign, from GSD&M, when he was killed in a tractor accident in late August. His own humanity and genuine zeal for BMW was on display when he sat down for an interview with Ad Age during last springs New York International Auto Show. Prior to his role as VP-marketing, Mr. Pitney was VP of Mini, where he was responsible for the brands reintroduction to the U.S. Paul Mulcahy, 80 Paul N. Mulcahy, a well-known figure in the advertising world who was for many years a highranking marketing executive with Campbell Soup Co., was a journalist favorite thanks to his big personality and straight-shooting, quotable lines. Mr. Mulcahy, who was said to have bled tomato soup, was responsible for creating Labels for Education, which awards educational equipment to schools in exchange for labels from food products. Jimmy Dean, 81 While most knew him as The King of Sausage, Jimmy Dean rose to fame after the 1961 release of his country ballad Big Bad John, which won him a Grammy. He also hosted a variety show on ABC and enjoyed a brief acting career before becoming known as the star of his Jimmy Dean Sausage Co.s folksy TV campaign. Mr. Dean understood it was honest-to-goodness Southern charm that cemented his legacy: His 2006 memoir was titled Thirty Years of Sausage, Fifty Years of Ham.

Chet Simmons, 81 Chester Chet Simmons served as president of ESPN during the companys launch in 1979 and helped establish it as the leading brand and media company in sports broadcasting today. But he is perhaps best remembered at ESPN for his role in the creation and development of Sports Center, which helped influence or launch the careers of commentators such as Jim Simpson, Merlin Olsen and Greg and Bryant Gumbel. Art Linkletter, 97 TV icon Ark Linkletter made his mark as the host of such golden-age TV programs as People Are Funny and Art Linkletters House Party, which will be fondly remembered for his Kids Say the Darndest Things, segment (reprised as a show by Bill Cosby from 1998-2000). Among the products he endorsed were Milton Bradleys The Game of Life, Disneylands 50th Anniversary in 2005 (he appeared at the parks opening in 1955) and National Home Life insurance. Gregory Pruitt, 46 Gregory R. Pruitt, managing partner and director for business development at WPPs MediaCom, died in March after experiencing cardiac arrest. Although hed only been at the company since that past December, in an email to staff, MediaCom USA CEO Doug Checkeris wrote: He managed in that short time frame to touch many people here at MediaCom with his energy, talent, humor and passion for his work. Prior to MediaCom, Mr. Pruitt founded his own business-development consulting practice, Pruitt & Partners. He also cofounded H20 Films, a branded-content production company that developed award-winning work for Fruit of the Loom, Procter & Gambles History of Paper and for community-service organizations. Si Kornblit, 76 Simon Si Kornblit was head of worldwide marketing for Universal Pictures until 1993, contributing to the marketing of more than 100 films, including Jurassic Park, Scent of a Woman and Back to the Future. Prior to that, Mr. Kornblit was general manager of DDB, Los Angeles, after 35 years with the agency in both Los Angeles and New York. A Korean War vet, Mr. Kornblit was born in Antwerp, Belgium, and fled Europe with his family shortly after World War II began. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Cause Campaigns SECTION: Pg. 19 Vol. 81 LENGTH: 841 words

Breast Cancer Awareness Month Were used to seeing a lot of pink in October, but this past October will be hard to top. Be it linked to the American Cancer Society or Susan G. Komen, 2010s effort may be the biggest marketing campaign ever as judged by consumer impressions. And as off-putting as it may have been to see every team in the National Football League accessorize in pink or have gate attendants for Delta rattle the cup for charity, for sure, few could not be aware. Pepsi Refresh Pepsi grabbed headlines last year when it announced it would bypass the Super Bowl in favor of this cause campaign. A year later, the campaign is still in full swing and Pepsi plans to make it bigger in 2011, expanding it to Europe, Latin America and Asia as it continues in North America. The program garnered more than 2.8 billion impressions from earned media through mid-October and attracted 51 million votes for 7,000 projects. It all resulted in $11.7 million in funding for 287 ideas from 203 cities and 42 states. Dawn saves wildlife This effort by Procter & Gamble Co.s Dawn, which began more than two decades ago, even before the Exxon Valdez oil spill, gives dish detergent and money to wildlife organizations to rescue victims of oil spills. Dawn was in the perfect place, and on air with Earth Month ads, when the massive BP spill hit the Gulf Coast. All of which points out why this is one of the best cause programs ever, a perfect match with the brands longstanding equity of being tough on grease but gentle on hands (and birds) - and an evergreen PR program. American Express The Members Project deserves props for getting cardholders deeply involved in the corporate

charitable effort. Beyond this, American Express has turned a program aimed at shoring up its penetration among small businesses into something decidedly cause-like, through such things as Small Business Saturday ads urging people to support local merchants the weekend after Thanksgiving. Pureit/Unilever sustainability Unilever has big plans for Pureit, a water-purification brand now in India. Here, the marketing is the cause. By 2020, it wants Pureit to provide clean drinking water to 500 million people (7% of the worlds population) and be profitable. Its part of Unilevers broader sustainability plan, which sets 50 often hard-to-achieve goals toward halving absolute environmental impact, while doubling sales. And it shows clear business rationale. Neither Unilever nor developing markets can grow fast without major environmental efficiency breakthroughs. Boxtops for Education An oldie but a goodie, this program launched by General Mills gets a lifetime achievement award for continuing to work for decades, including generating $49 million for schools last year. The Minneapolis-based food company has expanded reach of the program through partnerships with Nestl, Kimberly-Clark Corp., S.C. Johnson and others as it continues to leverage substantial oldfashioned word-of-mouth through Parent Teacher Organizations nationwide. Targets 5% Another oldie but goodie outpouring of Minnesota nice. Its easy to forget that Target has been giving away 5% of pretax profits to charity since 1946, well before cause marketing had a name. Today, that program generates more than $3 million in charitable donations weekly. P&G Childrens Safe Drinking Water Program In August Procter & Gamble Co. launched a novel way to promote its 6-year-old Childrens Safe Drinking Water program - a Blogivation initiative in which every click on a widget on a participating blog generates the donation of one day of purified water. So far, the program has generated 50,000 days of water through 272 blogs on the way to the goal of 100,000. More broadly, CSDW has provided 2.5 billion liters of clean drinking water since 2004 and is growing fast, as its expected to provide more than 1 billion liters in the fiscal year ended June 30. Prilosecs Official Sponsor of Everything You Do Without Heartburn Another system of microsponsorships-100 awarded in four rounds so far ranging from $500 to $4,000 for individual small causes-seems to have the legs that can carry it for a long time. It lacks the star power or spending of Pepsi Refresh, but also has a certain grassroots feeling thats hard for a big brand to generate. So far, its generated 250,000 website visits and 100,000 votes for the causes-66% of them from heartburn sufferers and nearly 60% of them Prilosec OTC users, according to agency Bridge Worldwide, Cincinnati.

Walmart Fighting Hunger Together Two billion dollars is a big number any way you cut it, and thats what the Walmart Foundation pledged this year to give to food banks in food, cash or equipment by 2015. Its giving away $1.5 million of that through a social-media program launched in November and running through Dec. 31 in which 100 metro areas compete for six grants through their friends liking the programs Facebook cause page. It does, yes, smack of organized panhandling via social media, but also generated substantial local media coverage. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Campaigns Creativity Loved SECTION: Pg. 18 Vol. 81 LENGTH: 1029 words

Old Spice The Man Your Man Could Smell Like/Responses It wasnt just Hello, ladies! but Hello, everyone! Wieden & Kennedys pop-culture-infiltrating commercial The Man Your Man Could Smell Like and the Responses follow-up capitalized on the beloved Isaiah Mustafas character and the immediacy of social-media channels, creating, over a period of three days, more than 150 tailor-made YouTube responses from the Man to fans. The latter

drummed up tons of media attention for Old Spice and generated some impressive statistics: it increased Facebook interaction by 800% and Oldspice.com website traffic by 300%, OldSpices YouTube page became the all-time most-viewed channel on the site. More impressive? Even actual sales were up. Pepsi Refresh Project The social-media-driven campaign from TBWA/Chiat/Day, L.A., which saw the marketer divert its Super Bowl budget toward social causes, has been one of the most-dare we say-important brand efforts of the year. Demonstrating what a reallocation of a portion of a mega media budget could do, the campaign ended this year with nearly three billion media impressions, 51 million votes from a broad demographic sample and millions given to worthwhile grassroots causes. The campaign has been a massive success in terms of awareness and-say Pepsi bottlers, no less-palpable goodwill toward the brand. Arcade Fire Wilderness Downtown Director Chris Milk, data viz artist Aaron Koblin, Google, B-Reel, @radical.media, mr. doob and others brought their combined tech wizardry and artistry to bear on this phenomenal interactive video for the Arcade Fire song, We Used to Wait. Milks motivation was to endow the music-video experience with the same emotional resonance as music itself. The video, which uses Google Earth to provide a powerfully personal angle on the song, succeeded as an HTML5 case study, a nifty calling card for Chrome, a giant PR boost for Arcade Fires new album and, most importantly, a powerfully personal way to experience a great song. Dominos Pizza Turnaround With the help of Crispin Porter & Bogusky, Dominos bared its soul and turned to focus groups and social-media channels to find out what consumers really thought about its pizzas. After discovering that eaters were likening their pies to cardboard and ketchup, the brand went on a quest to turn opinions around with a major recipe overhaul, documenting its efforts in a series of web films and spots and on the website PizzaTurnaround.com. The experiment in transparency was a success, and according to CMO Russell Weiner, resulted in plenty of media buzz, more satisfied customers and third-quarter same-store sales increase of 11.7%.

Mitsubishi

Virtual Test Drive Mitsubishi, its agency 180 L.A. and digital production maestros B-Reel made test-driving a car much more accessible to potential buyers (and, doubtless, much less nerve wracking, smelly and awkward for dealers) with what the marketer called an auto industry first-the Live Drive. Part of an integrated campaign for the Outlander, Live Drive allowed 5,000 web viewers to drive an actual vehicle on an actual course, via a remote control software system. Its perhaps not the most enduring effort, but demonstrated how a big tech-enabled idea could come to life and create energy around a brand. Dare Labs Remote Palette London agency Dare made an investment in creative technology in 2007, launching Dare Labs to foster new-product development. This year, the Labs bore fruit in the form of Remote Palette, a magical app that links iPad and iPhone, allowing users to paint on the iPad using their fingers as brushes and phone as palette. The app garnered huge online buzz, helped along by a web video featuring a man dressed as a certain artist, trying to shake ketchup onto his iPad-a nod, of course, to the 1982 art clip, Andy Warhol Eats a Hamburger. Nike Write the Future The cornerstone of this World Cup campaign, from Wieden & Kennedy, Amsterdam, was a stellar anthem spot directed by Alejandro Gonzalez Inarritu, starring an elite cast of athletes and celebs. Other components included a digital outdoor effort whereby users generated headlines that were projected onto a prominent Johannesburg building, and an online push that allowed visitors to see their own glorious rise from soccer unknown to all-star athlete in an interactive film and promo posters. Jay-Z/Bing Decoded Ubiquitous and massive-two words that easily describe Droga5s campaign to promote Jay-Zs book, Decoded. The multiplatform effort gave new meaning to outdoor, and brought every page of the book to life on practically every surface imaginable-from the rooftops of a building in New Orleans and the bottom of Miamis Delano Hotel pool, to the lining of suits-giving fans a preview of the content at the locations that inspired them. For those who couldnt view the physical pages, a partnership with Microsoft Bing allowed Jay-Z followers around the globe to search for each page online via a scavenger hunt. WWF Space Chimp

The World Wildlife Fund Australia collaborated with musical artist Ben Lee and Leo Burnett, Sydney, on this gut-wrenching video. Serving as a music video for Lees Song for The Divine Mother of the Universe and an environmental -awareness message, Space Chimp follows the titular astronaut returning home from a long voyage to find himself alone on a ruined planet. The visuals, orchestrated by director Steve Rogers, are superb and the effort is a great example of inter-brand collaboration. Conan OBrien Comeback Campaign When it came time for Conan OBrien to return to TV land with his new TBS talk show, he and the cable channel leveraged his legion of online supporters, aka Team Coco, and launched a slew of social media-minded pushes that included everything from a Foursquare-linked blimp, webfilms and a webcam showing live antics from his new office. The campaign also included hilarious TV promos, including a massive actioner starring the host in an explosive cliff dive. And, of course, there were the hilarious Twitter missives of OBrien himself. All resulted in a successful opening night, with OBrien surpassing both Jay Leno and David Letterman in the ratings. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 2010 BOOK OF TENS BYLINE: KEN WHEATON SECTION: Pg. 2 Vol. 81

LENGTH: 359 words

Do you remember what you were doing last year at this time? Probably not. Like most Americans, youd likely limped to the end of 2009, found a corner to curl up in, and cried yourself to sleep hoping youd wake up in a 2010 that simply had to be better. And it was! (Unless you worked on the BP account.) It seems the worst of the recession is behind us. And there are signs of life in the advertising, media and marketing worlds. Still, those unemployment numbers dont want to budge-and neither does that vague sense that our entire economy is based on Monopoly money. But forget all that. This is the Book of Tens. This issue is supposed to be about fun, right? A reward for a year of hard work. For example, here at Ad Age, we reward that year of hard work by making our reporters go nuts trying to drum up items for lists and then fight over them. As I type this, were practically coming to blows over a last-minute decision to create a Top 10 Icons of the Decade list. (If Im sulking this week, its because Progressives Flo didnt make the cut.) Despite how wrong some of them may be on basic aspects of advertising iconography (and food and politics and movies and music), wed like to take the opportunity to thank the Ad Age editorial staff for another year of kickass reporting and writing. (And, hey, thanks to the sales side for paying the bills.) Of course, we do it all for our readers. Without you, wed either be unemployed or weirdos with marketing obsessions. So thanks to you, too, dear reader, for giving our lives meaning and keeping us in kibble and booze. Thanks, too, for the ideas and feedback throughout the year. We expect well be hearing it from you on some of our choices this year. These sorts of lists are never complete, of course. Indeed, weve got a number of lists in this book that are little more than teases. Without proper context, they may even cause you to question our sanity (if this letter hasnt already). The good news is, you can do so on the web. All of these lists have comment sections, and wed love to hear your opinions. Whatever the case, we hope you enjoy the issue. And heres to an even better

2011.
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Advertising Age December 13, 2010 Epic Media Feuds BYLINE: Simon Dumenco SECTION: Pg. 23 Vol. 81 LENGTH: 912 words

Julian Assange vs. the world The WikiLeaks founder fancies himself an information freedom fighter. Purveyors of necessarily secret information-like the U.S. military and the State Department-see him as a reckless anarchist. Assange thought hed change the world one leaked document at a time, but his undifferentiated dump of hundreds of thousands of pages of classified information has been less than revelatory, offering both numbing redundancy and utter banality. Get this: Turns out U.S. State Department cable scribes find annoying foreign leaders to be annoying. American diplomats: Theyre just like us! James Cameron vs. Glenn Beck In the spring, lost member of the Blue Man Group James Cameron-who made some sort of emo 3-D movie about tall, sexy E.T.s-was asked for his opinion about Glenn Beck. Glenn Beck is a fucking

asshole, he declared. Ive met him. He called me the Antichrist. On his next show, Beck owned up: I did call James Cameron the Antichrist. Only because of the Celine Dion song [My Heart Will Go On, in Titanic]. Horrific, really. He also characterized Cameron as the director of a Smurfmurdering movie. (So thats what Avatar was about!) China vs. Google In January, Google shocked the world by declaring that its computer network had been the subject of a highly sophisticated and targeted attack emanating from China. It took until the end of the year for indirect confirmation, via WikiLeaks, that the Chinese government was indeed behind the cyberattack, but in the meantime Google decided that it would engage in a, um, highly sophisticated and targeted counterattack on China: It took its ball and went home, essentially exiting the worlds largest emerging internet market. Apple vs. Gawker Media A priest, a rabbi and an Apple iPhone 4 engineer walk into a bar. OK, forget the priest and the rabbibut dont forget the iPhone! Which, of course, the engineer did, leaving his top-secret prototype behind on a barstool. An opportunist found it and sold it for chump change ($5,000) to Gawker Medias Gizmodo gadget blog, which racked up a gazillion page views with its unauthorized (and possibly illegal) sneak peek. Steve Jobs was reportedly outraged, and Apple actually prompted Californias state police to raid Gizmodo Editor Jason Chens home. George Orwell, meanwhile, is still trying to decide which way to flip over in his grave. Apple vs. Adobe Oh hai again, Steve! Yeah, the Apple CEO makes our list twice this year. Also upping his ire: the dimwits (as he sees them) at Adobe, the software giant behind Flash technology, which Jobs permanently banished from his wonder tablet, the iPad, not to mention the iPhone and iPod Touch. Why? Because Flash sucks, man! Or so insists Jobs, despite the fact that, huh, Flash does seem to work on competing mobile platforms, including the new crop of Android phones and tablets. Must be a bug or something. Sarah Palin vs. Joe McGinnis To write an unauthorized biography of Sarah Palin, Joe McGinnis thought itd be a good idea to camp out in Wasila-in a rented house right next door to the Palin compound. Uh, actually, Joe? Bad idea. Really bad idea. Mama grizzlies dont take kindly to perceived predators, and neither do diehard fans of mama grizzlies, who issued none-too-subtle death threats against the author. No word on whether McGinnis is hoping to do a guest turn on Dancing with the Stars next year timed to the release of his Palin bio. Rupert Murdoch vs. The New York Times Rupert Murdoch hates New York Timesmen-particular the ruling Sulzberger family behind the paper. Its bad enough theyre such journalistic snobs-Establishment media players who look down on

Murdochs messy, freewheeling News Corp. tabloid empire (not to mention Fox News)-theyre also liberal pansies! Fortunately, News Corp. now owns The Wall Street Journal, through which Murdoch can engage in all kinds of warfare by proxy, like (improbably) launching a WSJ metro New York section to take on the Times in its own backyard. News Corp. shareholders may be horrified by the repositioning of the inky business bible, but hey, if it makes 79-year-old Rupert feel young again The New York Times vs. Rupert Murdoch Turns out those Establishment media snobs at the Times can flex a little muscle-make that a lot of muscle-when provoked. In the fall, the papers Sunday magazine published a deliciously detailed cover story about a tale of Murdochian misconduct that News Corp. assumed was well past its expiration date. A 2006 phone-hacking scandal-during which Murdochs News of the World was found guilty of illegally accessing the voicemail of members of the British royal family in the service of tawdry scandal-mongering-was no isolated incident, the Times reported, breathing much new life into (and British government interest in) the scandal. M.I.A. vs. Lynn Hirschberg Rapper M.I.A. didnt much like journalist Lynn Hirschbergs New York Times Magazine cover profile about her. In fact, she went ballistic, tweeting Hirschbergs phone number to her followers, and even releasing a Hirschberg dis track, Im a Singer (Why the hell would journalists be thick as shit /Cause lies equals power equals politics)-ingeniously calling even more attention to the story she didnt want anyone to read. Facebook vs. privacy advocates You lose-we all lose! Except Mark Zuckerberg. Hes holding a giant magnifying glass, and were all just ants. And its way too late for us to escape the ant farm. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Follies SECTION: Pg. 4 Vol. 81 LENGTH: 975 words

The Jay Leno/NBC fiasco At this time last year, we were wondering how the Peacock would respond to the fact that moving Jay Leno to 10 p.m. had tanked with viewers, advertisers and network affiliates. About a month later NBC reversed course, adding fuel to an already hot fire. Sure, affiliates may have grinned, but the maneuver automatically created the Conan monster, turning Mr. OBrien into a lovable victim whod been wronged by the suits. NBC became both laughingstock and villain-too harsh, perhaps, for the one network at least willing to experiment with reshaping prime time. Gaps loco logo Who knew Gap still had so many faithful fans? You certainly wouldnt have known it from its sales over the past few years. But when the retailer updated its logo, you would have thought it had defiled a sacred text. Sure, the old logo was a cool classic and the replacement looked like something puked up from a late-90s Dallas office park, but the outrage was a little over the top. The bigger folly may have been being one of the few marketers who actually caved to the braying of the social-media crowds-especially considering how unlikely it was that any of them shopped there. ESPNs LeBron James show Sure, Cleveland fans have plenty of reason to hate LeBron James for abandoning their NBA franchise. But all of America should have boycotted ESPN. The sports network ceded control of its air to Team Lebron (meaning his friends and advisors, not the Cleveland Cavaliers), so that the championshipring-less star could announce whether he was staying or going. LeBron used the hour-long special to stab Cleveland in the chest. Repeatedly. ESPN, ostensibly a sports-news outfit, looked like it worked for LeBron; LeBron, ostensibly a loyal and humble guy, annoyed the country enough that he-and Nikefelt a need to make an image-rehab ad. Microsofts Kin Not much to say on this one. The companys first phone product, was as we said in June, one of the fastest launch-to-failure paths ever taken by a major marketer. A fitting fate for a physically unattractive communication, er, thingie with no clear positioning. Nielsens fuzzy math

In November Nielsen revealed that it had been underestimating unique visitors to the top 1,000 sites on the web by an average of 5%. That admission came one week after disclosing that it had been seriously underestimating the amount of time people spend on the web because its system was choking on long web addresses - those with more than 2,000 characters. This not only reinforced the sense that metrics for the web (supposedly the most accountable medium) are closer to nonsense than suggested, it set back Nielsens quest to be the standard for online measurement. iPhone 4 Thanks to a forgetful Apple engineer, the super-top-secret Phone of all Phones IV (are we already up to the fourth version?) found its way into the hands of the enterprising bloggers at Gizmodo. This made Steve Jobs very unhappy. Also making Steve Jobs very unhappy? You silly left-handed people who pointed out that the phone part of the iPhone (always a sketchy detail to begin with) didnt seem to work so hot. Jobs solution? Hold it in your other hand. Oh, and get a protective casing. Most bizarre about all this is that Apple consumers-even the left-handed ones-are already lining up to buy the iPhone 5. Christine ODonnell The Delaware politician went from zero to hero when she beat GOP pick Michael Castle in the Republican Partys own primary, much to the consternation of Karl Rove and others who saw this as the Tea Party snatching defeat from the jaws of victory. (A former governor and nine-term U.S. Rep., Castle was seen as the favorite to win the Senate seat.) While she may have been anointed as the second coming of Sarah Palin and the face of the Tea Party movement, she was little more than a media distraction and a constant source of embarrassment. Note to aspiring political candidates, never start a commercial with the phrase, I am not a witch. Chevron hijacked by The Yes Men When Ad Age received a call from a Chevron spokesman miffed about our coverage of its new campaign, we were puzzled-we hadnt covered the campaign. After some digging, it turned out that activist group The Yes Men, along with Rainforest Action Network and Amazon Watch, had hijacked Chevrons brand, its ads and its PR push. Not only did the group send out convincing fake press releases, it set up very convincing fake Chevron sites and even a fake Ad Age site with fake coverage. Much to the consternation of Chevron, a number of real news outlets fell for the ruse. Bare bear bottoms banned We didnt know if this qualified as a folly, but we didnt have a list solely for headlines we never thought wed right. But news is news, and NAD to Charmin: No Bare Bear Bottoms. P&G Must Show Some Pieces of TP on Bruins Bums was an actual story. After a challenge from KimberlyClark, Procter & Gamble was forced to add little flecks of cartoon toilet-paper to the backsides of its Charmin cartoon bears to avoid the wrath of arbitrators. The National Advertising Division of the Council of Better Business Bureaus determined that P&G had indeed substantiated its claim of leaving fewer pieces behind than K-Cs Cottonelle. The problem? The tests used by P&G didnt mimic the way humans actually wiped.

The Steve Slater affair It wasnt JetBlues fault. We understand that. The airline cant be held responsible for a flight attendant losing it (allegedly because of an abusive passenger), popping the emergency slide and escaping the airport with beers in hand. But the airline, typically known for transparency and a strong social-media presence, had to go silent for legal reasons and let Slater go. And go he did, becoming a media sensation and a folk hero to a population thats had it up to here with the indignities of air travel. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 Who Made Their Mark SECTION: Pg. 6 Vol. 81 LENGTH: 947 words

Janet Roll BET As recently as 2007, when Janet Roll joined BET Networks, the Viacom cable networks ratings were at a standstill, and it was viewed as a risky environment for major marketers. Fast-forward to 2010, and BET is having its best year ever under Rolls leadership as exec VP-chief marketing officer. The network has seen record ratings growth for the last 18 months and a bigger, wider

audience. In an interview with Ad Age, Roll articulated her charge: We were trying to be all things to all people. But we settled on being more things to more people. My job is to direct you and help you understand the full array of offerings BET has, no matter what your interests or background may be. Joel Ewanick General Motors He started the year at Hyundai, making big splashes in big places (Super Bowl, Oscars), then jumped to Nissan for a mere six weeks before landing at GM, where he had carte blanche to remake the marketing organization. And that he did, ditching both longtime agencies and newcomers for his own group of shops with whom he has had long relationships. Now GM has IPOd and hes back in the big game. While its probably too soon to tell if GM will be able to resurrect itself as Ford has done, the automaker seems on the right track with its latest round of cars. It will be up to Ewanick to make sure the marketing matches the metal. Conan OBrien Talk-Show host Conan may have gotten the short end of the stick when NBC changed its mind on the failed Leno experiment (and for some reason, cant let go of his resentment over landing at TBS), but the comedian put his time between networks to good use and provided a case study in word-of-mouth and social-media marketing. His stand-up-comedy tour drew thousands around the country, building up goodwill and a hell of a beard. And dont forget his smart-aleck Twitter feed. By the time Team Cocos blimp landed at TBS, OBrien had a built-in audience that was 4.2 million strong for his debut show. Sidney Harman Magazine Savior He drew all eyes back to magazines by buying Newsweek from the Washington Post Co. without a business plan except the intent to save it one way or another-and then by forging a stunning but risky merger with The Daily Beast that secured Tina Brown as Newsweeks new editor. Harman, a nonagenarian who made his millions in the stereo business, told staffers he would be delighted to see Newsweek return to profitability over a period of a few years. Mary Beth West Kraft During her tenure, the Kraft CMO-along with CEO Irene Rosenfeld and Senior VP-Marketing Strategy and Communications Dana Anderson-has been remarkably aggressive in terms of shaking up its marketing as well as its agency roster. Once a two-agency marketer known for its steadfastness, Kraft has spread its work far and wide. West had an incredibly fast ascension at Kraft and is clearly

someone Rosenfeld trusts and counts on-so much so that shes been given oversight of the Cadbury business as the leader of the global chocolate team. Betty White Actress Whoda thunk the last surviving Golden Girl would become one of this years pop-culture phenomenons and a marketers dream? She kicked off the year in a high-profile Super Bowl spot for Snickers (totally eclipsing poor Abe Vigoda), hosted one of the highest-rated Saturday Night Live episodes of the year (after a Facebook movement to get her the gig) and was handed a co-starring role on TV Lands first sitcom, Hot in Cleveland. Marc Pritchard Procter & Gamble He might not be flashy, but he quietly has made or had a hand in some substantial changes either begun or implemented this year. These include consolidating all marketing functions into the global brand-building organization; leading P&Gs biggest corporate-branding campaign ever at the Winter Olympics; and pushing through the store back movement of trying to ensure every campaign idea starts with looking at how it will play out at the store shelf. Russell Weiner Dominos Dominos chief marketing officer headed a campaign in which the company admitted it was selling a crappy product, then lived to tell the companys success story. Recognizing that sales were down and something needed to be done, he embarked on a risky move that could have failed miserably. But critics skepticism of the campaign, from Crispin Porter & Bogusky, gave way to praise for the ads self-deprecating and authentic tone, and consumers responded with their wallets: The pizza chain saw a 14.3% increase in first-quarter same-store sales. Most recently, third-quarter same-store sales were up 11.7%. Justin Bieber Heartthrob Can you recall a simpler time, when no one knew what a Bieber was? In fact, most people over 15 probably still dont know what a Bieber is, other than a word thats always topping trends on Twitter and other social-media platforms. But the music industry knows, as do thousands upon thousands of young girls. Oh, and Walmart, which has inked a deal that gives it first dibs on young Biebers albums, his fragrance line and a line of nail polish? Yes. Nail polish. Sarah Palin

Political Powerhouse Remember when people were debating whether Sarah Palin lost John McCain the presidential election or breathed life into a campaign that had no shot against Barack Obama? The Mama Grizzly seemed to answer that question this year. She became a powerful forces in then Republican Party and a big influence on midterm elections, staying in the spotlight all the year with good publicity and bad, and giving (or withholding) her blessing in primaries and generals across the land. All this, of course, while letting her name float for a 2012 presidential run. Like it or not, Brand Palin has legs. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 Big Stories for the Week of Dec. 13 SECTION: Pg. 12 Vol. 81 LENGTH: 2444 words

Next up for Groupon: international growth groupon left many mouths agape last week when the dailydeals site reportedly left Googles $6 billion acquisition bid on the table. So, where exactly is Groupon headed? Well continue to expand geographically and on the subscriber front, said Rob Solomon, Groupon president-chief operating officer. Beyond growing its already expansive global footprint-Groupon is in more than 300 global markets-the company is also starting to float services that evolve its daily

deals for local merchants to something beyond emails and alerts. As for where Groupon plans to plant its flag next, Mr. Solomon says its analyzing the best way to enter China, India and Korea, and the Middle East is also a likely region. Even without a global partner like Google, Groupons spread at a dizzying pace-it went to 35 countries from one this year alone. With $135 million in capital from Battery Ventures and Facebook and Zynga investor Mail.ru Group, Groupon entered Europe, Latin America, Asia and Russia largely through acquisition. In May, Groupon picked up CityDeal-at the time, the European group-buying service had sent out its first deal in Berlin only five months prior. By summer, it was setting up operations in Latin America and, today, it gets 12% of its 21 million in global website unique visitors from Argentina alone. It went on to acquire Russias Darberry and Japans Qpod in August and picked up a trio of sites to get into Hong Kong, Singapore, Taiwan and the Philippines in late November. What youll find is our international business in the very near future will likely be larger than our North American business in terms of revenue, Mr. Solomon said. Like its done up until now, acquiring small companies such as Qpod, which had 20 employees at start, is part of the formula. Boots on the ground and subscriber lists abroad have not yet begun to pay off. Groupon has more subscribers outside of North America, but is selling far more within North America. The company reports 18 million deals sold in North America, and 7 million abroad, even though the company reports 19 million North American subscribers to 21 million abroad. Thats not to say Groupon isnt doing well-it says it was profitable less than a year after launch and Citigroup analyst Mark Mahaney puts its gross sales at $800 million. Estimates for sales have ranged from $500 million to $1 billion. A Groupon spokesman says North America leads in sales because its the oldest market. As for the others, conversion rates have traditionally improved over time. It could rely on perfecting sales and editorial strategies for international markets-a key factor when local merchants and local buying habits are concerned. In the U.S., Groupon has created a style book and calculated editorial strategy to drive conversion. Editors note: This is the first in a series of stories about whats up next for Groupon. For the full version of this story and subsequent articles in the series, go to AdAge.com Engine USA acquires Noise On the heels of its acquisition of digital agency Deep Focus, Engine USA has purchased its second New York-based shop, Noise. The 35-person agency, which also has a San Francisco office, was launched in 2003 to specialize in marketing to 18-to-34-year-olds. Under CEO-Chief Creative Officer Noah Kerner, it has launched Facebooks API and the sites first third-party app for Amazon. Terms of the deal were not disclosed, though it does not include an earn-out. The no-earn-out model, where founders of purchased agencies become stakeholders in the larger collective, is a cornerstone

of Engine USAs strategy as it continues to hunt for New York-based agencies specializing in disciplines such as PR, direct response and entertainment. Noise joins Deep Focus, the digital agency Engine acquired in October. They are forming the basis of the just one of everything agency collective Engine is plotting here in the U.S., mirroring a growth strategy it has used in London. After five years, 14 shops sit under Engines U.K. operations, which boasts a total of 600 employees and $95 million in revenue. Engine USA has set out to build an agency company under one roof that will house as many as 12 shops, which each specialize in an area of expertise thats not duplicated elsewhere in the company. Marketers up in arms about network sidebars The association of national advertisers has taken a position against TV network logos and promos-sidebars-that flank low-definition commercials on high-definition screens. The sidebar real-estate of an ad belongs to the advertiser unless otherwise agreed or unless the concurrent program content is part of the regular network programming format such as stock tickers or sports scores, the association said. Why? Well, just when Procter & Gamble or Papa Johns thinks its ad might get your full attention-its paid tens of thousands or hundreds of thousands of dollars for that privilege, after all-its commercial suddenly has to compete with vertical bars on either side that are plastered with a TV-network logo or a promotion for an upcoming show. Call centers more and more seen as revenue centers Next time youre on the line with a call center complaining about a product not working properly, dont be surprised if youre not rushed off the phone in record speed. The interactions between consumers and call-center reps are evolving from hurried griping sessions to extended sales pitches and consultation meetings. A study by Portrait Software, a provider of customer-interaction optimization software, shows that more and more marketers are looking to turn their call centers into revenue generating centers. A number of factors are driving this evolution but none more significant than the challenge marketers are having in reaching a growing pool of consumers that are opt-out and do-not-call fanatics. The study shows that 69% of large business-to-consumer marketers view their call centers as business-critical revenue generators. If you take a deep look into the existing customer bases of many marketers, one of the largest segments they have are the unreachables, Mr. Nicholson said. These customers have opted out of email, unsubscribed or added their name to a do-not-call list. Considering what that does to the potential for increasing the customer lifetime value and the potential to reach out and retain customers, its dramatic. But when you have people calling into your call centers, in some cases this can be your only opportunity to service that customer, cross-sell them or get them to un-opt out. Amazon and PayPal head off cyber attacks

Hackers sympathetic to WikiLeaks were continuing efforts to bring down PayPals website tonight and promising to go after Amazon later, threatening to disrupt web commerce just as the holiday shopping season approaches its peak. PayPal received the brunt of the attacks after Amazon got a reprieve earlier in the day. OK, we have changed our target-the Hive isnt big enough to attack Amazon, the person behind Anonymous Operations tweeted around noon. NEW TARGET: api.paypal.com. Port: 443. SPREAD THE WORD. PayPals site has so far survived the assaults, which are coming in the form of distributed denial of service attacks, or DDoS. The PayPal.com site is fully operational, a spokeswoman said in a statement to Ad Age. We can confirm that there have been attempted DDoS attacks on PayPal.com. These attacks have at times slowed the website itself down, but have not significantly impacted payments. But both PayPal and Amazon remain at risk during a crucial time for e-commerce. The hackers focusing on them have already successfully disrupted both MasterCard and Visas sites. Similarly disrupting Amazon and PayPal in the midst of the all-important holiday shopping season would take a bite out of at least some potential transactions and deal real blows to their reputations for stability and security. OWN finds that even Oprah needs a sales pitch A little oprah winfrey apparently goes a long way. Ms. Winfrey wont star in every piece of programming that runs on her new cable network, but executives there have been seeking ad rates that make it seem like she will. The very fact that her name adorns the new Oprah Winfrey Network, set to replace the Discovery Health channel Jan. 1, has given Discovery Communications the confidence to seek prices for reaching a thousand viewers-a typical metric in ad negotiations-above the rates charged by Discovery and TLC, two well-established siblings. Theyre trying to charge nearly as much, as a matter of fact, as broadcast networks get for daytime TV. Cable cant usually swing broadcast-size rates, because broadcast is historically much better at attracting the bigger crowds that advertisers want. It should be even harder for a new cable channel without any established ratings. But Ms. Winfreys name meant the network was no ordinary launch, executives figured. We were in line with how other Oprah properties had positioned themselves-a premium-priced media platform that had the promise of an already built-in audience, said Kathleen H. Kayse, executive VP for ad sales at the Oprah Winfrey Network, or OWN. Thats not to say network executives just waited for their phones to ring. Ms. Kayse has been pitching OWN to marketers since the fall of 2009, when the recession had advertisers holding their budgets close. Ms. Winfreys imprimatur was even more crucial then. I didnt have programming to show,

Ms. Kayse recalled. All she had to stand on was the past performance of Ms. Winfreys media properties. More than a year later, the stakes have grown, providing even more incentive to seek high ad rates. Last August, Discovery raised its funding commitment for OWN, a joint venture with Ms. Winfreys Harpo, to $189 million from $100 million, according to a filing with the U.S. Securities and Exchange Commission. In return, Ms. Winfrey agreed to expand her on-air presence on the network, hosting or starring in a show. Her programs will join others such as Kidnapped By the Kids, a series that serves up hard emotional realities to harried parents, and In the Bedroom With Dr. Laura Berman, a program focused on having better sex. U.K. probes marketing of sexualized products British retailers could be banned from selling sexualized products aimed at children following a government inquiry into age appropriate marketing. The review, started this week, is looking at whether new rules are needed to prevent the marketing of items such as porn star T-shirts, poledancing kits, Playboy pencil cases and padded bras to preteens. British Prime Minister David Cameron recently labeled marketers irresponsible and said he was shocked to find models of beds named Lolita targeted at 6-year-olds. One of the governments pledges when it came to power in May was to take action to protect children from what it referred to as premature sexualization. Reg Bailey, CEO of the Mothers Union, an international Christian family-welfare organization, has been appointed to lead the inquiry. The inquiry will have a free hand to make recommendations, which could include restrictions on sales, a watchdog or a government-funded website for worried parents. The Advertising Association recently launched Check, the Childrens Ethical Communications Kit, in partnership with Turner Media Innovations, to help companies target only responsible products and campaigns to children. Check, which will be regularly updated, brings together all the existing regulations around marketing to children, with the aim of bringing clarity to what can and cant be done, and where. Capital One puts $360M media biz into review Capital one is putting its $360 million media account up for review, according to executives with knowledge of the situation. The business has been managed by Publicis Groupes MediaVest for nearly a decade. The shop is expected to defend, according to executives with knowledge of the matter. The agency referred calls to the marketer, which did not return calls before press time. U.K. companies targeted by street demonstrations Marketers including Kraft, Tesco, Marks & Spencer, Vodafone and Topshop are living in fear of a

group of activists called U.K. Uncut that are protesting against big corporations they say use tax loopholes to avoid paying their fair share of taxes and sharing the pain of the U.K.s big budget deficit. Street demonstrations have started in front of their retail outlets to disrupt business over the holiday period, damaging both reputations and sales as stores close down in response to the protests. At the same time as making massive cuts to public services, this government is letting rich individuals and corporations avoid billions of pounds of tax, the U.K. Uncut website explains. Visitors are exhorted to become part of an army of citizen volunteers determined to make wealthy tax avoiders pay. The groups motto is: If they wont chase them, we will. Old brands snapped up at New York auction Secrecy was the watchword at an auction of more than 100 brands that have gone unused in recent years and were bought up by a company called Brands USA Holdings. Those on the block ranged from once near-household names, such as Meister Brau, Braniff and Old Nick candy bars, to much lesser-known ones. The 50 or so bidders and spectators were largely those representatives equipped with precise bidding instructions and closed lips. Some of them worked for entities unknown even to the organizers. Brand promoters and food and beverage manufacturers were also in attendance, but their reluctance to jump into the mix may have been due to the auctions novelty, said John Cuticelli, CEO of Racebrook, a real-estate investment firm that organized the event. The main format used was a Dutch auction, which begins with a high asking price and goes lower, with each bid barked out by the typical auctioneers rapid-fire, rodeo style (10,000 bid. 15,000? 10,000, once, twice ) and the occasional folksy interjection: Just bid 50,000 and youll never forget what you paid. Three spotters roaming the audience identified bidders with a yell and tried to gin up interest. Colliers, the weekly magazine that published investigative journalism, essays and fiction from the likes of Hemingway, Cather, Lewis, Salinger and Vonnegut, was shut down in 1957. Its name was purchased for $2,000. Financial brand Shearson fetched $45,000 from a proxy buyer who was not only unknown but unseen, phoning in his bids. Meister Brau, essentially the prototypical light beer, went for $32,500 and Handi-Wrap for $30,000. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 TVs High Points (and a Few Lows) SECTION: Pg. 14 Vol. 81 LENGTH: 548 words

Conans farewell In late January, Conan OBrien agreed to exit his much-desired perch on NBCs Tonight program after network executives asked him to move it back to midnight to give Jay Leno-at the time, driving a flailing prime-time vehicle-his old roost at 11:30. Nobody in life gets exactly what they thought they were going to get, OBrien said during his last moments on NBCs air. But TV viewers, station affiliates and advertisers at least thought theyd get better treatment from the network. Conans arrival He may make fun of his new basic-cable perch, but OBriens debut on Time Warners TBS, which 4.2 million watched-and an average of 1.7 million watched the second week-suggests TV viewers, especially the younger ones advertisers covet, see less of a distinction between the big broadcast networks and their smaller rivals. Lone Star dims We heard loads of talk about the big broadcasters investing in high-quality scripted drama, but then we saw many of those quality shows yanked off the air. So long, Foxs Lone Star, NBCs Undercovers and Outlaw and ABCs My Generation. We know quality when we see it-on cable, that is. Zucker signals his departure Give Jeff Zucker this: He was never dull. After years of talking about the demise of broadcast TV, Zucker will be able to say I told you so if NBC Universals new majority holder, Comcast, fails to make the Peacock fly anew. Cowell signs off

Did Simon Cowell walk off with the value of Foxs American Idol franchise in hand last season? Or does the powerhouse show still have life left in it? Well see what the ratings are like when J. Lo and Steven Tyler try to fill his shoes next year. TV and online move closer together With the CW selling packages of TV and online ad inventory, Fox selling time on Hulu to marketers who missed their ratings guarantees on its network and Nielsen working to come up with a plan that measures viewers across TV and web viewing, were close to a day when the TV is just one screen among many. Super Bowl sells out Three months before the kickoff of the 2011 gridiron classic, Fox sold the whole thing out-and at between $2.8 million and $3 million per 30-second spot, to boot. Call it the gift of an improving economy, top ratings for CBSs broadcast of the event this year and sports audiences desire to watch the game live, without skipping past the ads. CNNs troubles Yes, the channel represents a significant chunk of parent Time Warners operations, but its straight down the middle approach has cost it ratings in the prime-time race against MSNBC and Fox News Channel. Piers Morgans arrival in 2011 will be telling, since the new Parker/Spitzer has yet to prove itself. Spike TVs 10-minute ad break We tune in to TV to watch, well, TV shows. But Spike took the opposite tack this year, breaking up brief flashes of Entourage with mammoth ad breaks lasting eight to 10 minutes in length. Ad Ages inquiry into the situation got State Farm and others riled up, and Spike did something it should have done all along-cut its ad breaks down to size. Zombie love With only six episodes, AMCs Walking Dead could have just been an interesting miniseries, but it instead became a cult phenomenon. Forget vampires and superheroes. We want to watch monsters eating flesh. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 COOLEST IPAD APPS SECTION: Pg. 18 Vol. 81 LENGTH: 35 words

Flipboard - Free Netflix - Free Glee -$0.99 Keynote - $9.99 Remote Palette - $0.99 Scrabble for iPad - $9.99 Dofl Ball - Free Instapaper - $4.99 Air Display - $9.99 World Atlas HD - $1.99 To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 NEW APPROACHES TO WATCHING TV SECTION: Pg. 14 Vol. 81 LENGTH: 32 words

Cutting the cord The Sunday afternoon marathon The video-game console The clip show Being kind The A.D.D. way The Apple download VOD Web streaming on TV Going retro To read the full list go to AdAge.com LOAD-DATE: December 29, 2010

LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 MEDIA/MARKETING-RELATED TWITTER ACCOUNTS THAT DONT ANNOY US SECTION: Pg. 8 Vol. 81 LENGTH: 25 words

@Popeyeschicken @VirginAmerica @TWCable_NYC @netsolcares @radian6 @DellOutlet @MTVBuzzworthy @OldSpice @The Onion @DrPepper

To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 TOP VIRAL ADS (INCLUDING MOVIE/GAME TRAILERS) SECTION: Pg. 16 Vol. 81 LENGTH: 56 words

Twilight Saga: Eclipse 220,195,692 The Karate Kid 170,925,108 Step Up 3D 138,585,669 Toy Story 3 129,074,941 Call of Duty: Black Ops 110,552,341 Harry Potter and the Deathly Hallows: Part 1 109,841,416 Alice In Wonderland 86,953,863 Halo: Reach 74,423,145

Iron Man 2 73,974,417 Old Spice - Responses 68,744,004 To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 Ad Songs We Never Need to Hear Again SECTION: Pg. 22 Vol. 81 LENGTH: 526 words

30 Seconds to Mars, Kings and Queens Sunkist Because out of all the songs that couldve been used to score a generic beach ad, Sunkist had to pick a screamo-pop song performed by Jared Leto. Frances England, Blueberry Pancakes Bisquick Blueberry Pancakes This song was not, as far as anyone knows, written for a blueberry pancake ad. Singer Frances

England wrote the lyrics Flip em up high/blueberries in the sky because she genuinely wanted to express her fondness for flapjacks. Well be drizzling ours in whiskey to get them down next time. Train, Hey Soul Sister Samsung We couldve singled out virtually any marketer for egregious use of the most played-out song of the year, but Samsung gets extra demerits for being the most ubiquitous. For more ad appearances of this years I Gotta Feeling, go to StopAdvertisingFromPullingATrain.tumblr.com. Snugarena Snuggie Theres really not much to say about this spot, which takes the classic dance jam from Los Del Rio and revamps it with new lyrics about the famous blanket with sleeves. Handling vocals are what we believe are the less-talented younger siblings of the Kidz Bop children, who throw themselves into the task with the abandon of people whose apparel allows them the freedom of motion to play Foosball and revisit regrettable 90s dance crazes. Shake Up Christmas Coca-Cola And while were at it, Coke doesnt score any originality points for tapping Train to sing its holiday campaign, either. James Mann, Pack Up Your Troubles in Your Old Kit Bag Dell Inspiron As with so many ill-fated ad songs this year, this one features the ukulele, 2010s music supervisor instrument of choice for expressing schmaltz (see Trains entry). But that alone is not enough to make this list. No, for that, you have to update the WWI ditty Pack Up Your Troubles in Your Old Kit Bag with enough high-fructose corn syrup to make a Slurpee blush, all to push laptops. Wyclef Jean, 17 (Original Remix) Ritz It just wasnt Wyclef Jeans year. Not only was he thwarted in his attempt to run for president of Haiti, he also appeared in this block party for Ritz-perhaps the most groan-inducing commercial to appear in movie theaters since Fantas Fantanas. Vampire Weekend, Holiday

Tommy Hilfiger Were really not looking to tear into Vampire Weekend (see Best Ads), because theyre generally a good band, and Holiday is/was a good song. But its now playing in this Hilfiger Christmas campaign, and Honda has unfortunately decided its also a great tune for its holiday spot. Phoenix, 1901 Various Advertisers While were just as thrilled as any longtime fan that Phoenix finally struck it big last year, we wish Madison Avenue would find another song to score its fast-car/gadget/fall TV season ads already. It appeared in ads by everyone from Cadillac SRX to the iPod Shuffle and more highlight reels at events than wed care to catalog. Ukelele Song Cialis So were not yet in the market for Cialis. But when we are some day, we can promise you that this unbearable woman, singing awful innuendos and strolling through the yard with, of course, a ukulele, will make us reconsider the merits of love making. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 RANDOM HEADLINES FROM ADAGES BLOG SECTION: Pg. 4 Vol. 81

LENGTH: 79 words

This Just In: Advertising Works on Women Cajuns Ragin Over Victorias Secret Saints Slight Howd They Do That? Space-Monkey Edition Yeah. Right. It Was the Ad That Ended Tigers Marriage Safe Sex: Theres a Coupon for That Group Aims to Send Ronald McDonald to Retirement Home BPs Got 99 Problems - and Twitter Is One Sell the Sizzle, not the Scary Orange Lady Case Study: The Effects of a Three Martini Lunch on the Creative Process Village People Dismayed Over the Ys Rebranding LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 10 COOL OUT-OF-HOME IDEAS

SECTION: Pg. 20 Vol. 81 LENGTH: 68 words

Microsoft Bing, Jay-Zs Decoded Clear Channel Outdoor, Las Vegas Strip Mobile Loaves & Fishes, I Am Here Mediavest and Crispin Porter, Kraft Blue Box Macaroni & Cheese Lamar, QR codes H&M Amsterdam, 3-D lightshow Adidas, Sky Comic Paramount, Jackass Crashed Jet Ski Billboard Starbucks, Starbucks Digital Network Bernstein-Rein Advertising, McDonalds Angus Burger campaign To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

December 13, 2010 10 SHOCKING ADLAND SPLITS SECTION: Pg. 6 Vol. 81 LENGTH: 71 words

GM Yanks Chevy From Publicis After One Month Bartle Bogle Hegarty Barely Loses Caddy Harley Davidson and Carmichael Lynch Split Up Home Depot Pulls Hispanic Business From Vidal Mazda Zooms Away From Doner Best Buy Pulls Media-Planning from Crispin to Starcom GSD&M Parts Ways With BMW Dr Pepper Snapple Group Ends 40-Year Ties to Y&R Aflac, Fitzgerald & Co. Split Sonic and Barkley Split After 17 Years To read the full list go to AdAge.com LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 13, 2010 People to Watch SECTION: Pg. 8 Vol. 81 LENGTH: 949 words

Bob McDonald Procter & Gamble Its been a year-and-a-half since the former Army man took the chairman-CEO reins from A.G. Lafley. And while results have improved and P&G is broadly gaining share again, increasing competition, rising commodity costs and harder comparisons make 2011 a tougher year. To that end, its launched a just one more campaign to get consumers in North America, where it has near-full penetration, to buy at least one more P&G product. And its working hard to reach a billion more among the worlds 6.7 billion consumers within five years (last year it added 200 million, right on target). Still, some analysts and people close to the company believe that to succeed, McDonald needs a big restructuring or a big acquisition. Oprah Winfrey Daytime Icon Oprahs OWN cable network starts up on New Years Day, making her the biggest name yet to switch to cable from broadcast. Shell be following Martha Stewart, whose jump to cable has largely flopped, and Conan OBrien, whos move has proved more successful. Its been a rocky road to the launch of OWN, which is a joint venture between Oprahs Harpo Inc. and Discovery Network, though its managed to snag eight-figure ad deals from the likes of P&G, GM and Kohls. Oprah, for her part, plans to end her daily daytime talk show that runs on ABC in May 2011 after 25 years. Sheryl Sandberg Facebook Sandberg was tapped as Facebooks chief operating officer in March 2008. At the time, many likened her appointment to the role Eric Schmidt played when he arrived at Google to join cofounders Larry Page and Sergey Brin. She was the grown up, brought in to run the business, build out Facebooks revenue and turn it into a real operating company. But unlike Page and Brin, who gave up the CEO crown to Schmidt, Facebook founder Mark Zuckerberg has yet to relinquish the title, leading us to

wonder: When will Sandberg be named CEO, and, if not, when will she jump ship-and to where? Bill Simon Walmart Declines in comp store sales have slowed and traffic has improved since Simon took over as president of Walmart U.S. in July and the retailer retreated from its brand-deletion movement. The exec, upped from COO, a role hed held since 2007, has been credited with improvements in service and cleaner stores. But will his push to refocus on Everyday Low Pricing and Walmarts core consumer while trying smallmarts in urban areas return the behemoth to topline growth? Steve Burke Comcast Once the NBC Universal acquisition is approved, Burke will be the divisions new head, and responsibility for reviving the NBC network and making more of NBCUs cable portfolio will rest on his shoulders. But perhaps his biggest potential influence will be on how marketers advertise, by melding the one-to-one addressable technology of Comcasts cable distribution with the content and programming might of NBC Universal. Expect him to use Comcast technology to make enhanced advertising functions a selling point for NBCU. Nick Brien McCann Worldgroup He took over the troubled agency giant in January and the word on the street was if anyone could fix Interpublics problem child-and marquee global network-it was Brien, whod led a similar turnaround at Universal McCann before launching and leading Mediabrands, the group for all of IPGs media assets. But after a relatively quiet 2010, Brien has started to make waves, persuading creative star Linus Karlsson to leave the successful New York office of Mother for McCanns New York and London outposts. Look for more movement in 2011, when hell also need a few big wins to cement a change in momentum. Ken Jautz CNN Jautz was named exec VP of CNNs U.S. operations in September, taking over for Jon Middle Road Klein and promising to make CNNs prime time more compelling and engaging, sometimes more fun, you could even say. No stranger to shaking things up, Jautz put radio talker Glenn Beck on TV back when he was running CNN sibling HLN. Hell be overseeing the debut of Piers Morgan, the colorful British TV host who takes over Larry Kings timeslot come July, and hell be deciding the fate of the newly launched Eliot Spitzer show. Already CNN got a lot less boring. Natalia Franco

Burger King Tapped in May to be the fast feeders exec VP-global CMO, Franco was previously global VPmarketing and innovation at Coca-Cola Co., where she was charged with supervision of the brands division that serviced BK rival McDonalds. The Harvard-educated Latina was a shrewd choice for the traditionally testosterone-fueled marketer, which has had more than one cultural misstep, as it looks to improve relations among women and ethnic minorities. Ivan Pollard Coca-Cola The former global partner at Naked Communications in London is relocating to Atlanta to take on the role of VP-global connections at the beverage giant. He had been working with Coca-Cola in his role at the agency, most recently leading the integrated agency efforts for the brands World Cup efforts, and his new role will include leading the companys efforts to engage consumers through paid, owned, shared and earned media. With Coca-Cola CMO Joe Tripodi ushering in an era of increased marketing creativity, look for big things for this team in

2011.
Tina Brown The NewsBeast The editrix with a history of resurrecting sleepy rags (New Yorker, Vanity Fair) will have the test of her life as she looks to remake Newsweek in her image. In a deal that put Brown at the top of the edit masthead, her IAC-financed site The Daily Beast will be merged with Newsweek and take over the magazines web presence. Browns efforts will demonstrate whether or not a glamorous editor can pull an ailing newsweekly back to profitability. LOAD-DATE: December 29, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 10 TRENDS THAT ARE SHAPING GLOBAL MEDIA CONSUMPTION; Ad Age has the stats from the TV penetration rate in Kenya to the number of World Cup watchers and more BYLINE: ANN MARIE KERWIN; AKERWIN@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 968 words

While weve been obsessed with the carnage in American media markets for the last couple of years, the global media landscape has mirrored the broader economic one-which is to say, developed

nations are fragmenting while developing ones are booming. This is as true for TV and newspapers (newspapers!) as it is for online video and mobile phones, the latter of which is poised to become the most ubiquitous media device in history. Ad Age Insights latest white paper, Global Media Habits 2010, by Greg Lindsay, is a look at how media are actually being consumed around the world, divorced from business considerations. Here, 10 trends that are shaping media consumption in traditional and emerging media markets. 1) EVEN RELATIVELY POOR POPULATIONS NOW CONSIDER TV A NECESSITY. In 2010, nearly half of Indian households have TV, up from less than one-third in 2001. But in urban areas, that figure jumps to 96%. (Compare that to 7% of Indians who use the internet.) In Kenya, the TV-penetration rate rose from roughly 60% to 70% from 2005 to 2009, even as the number of households measured increased by nearly half. Even in the slums of Sao Paolo, TVs are the top seller of Brazilian retail chain Casa Bahia, despite the fact that residents tend not to have electricity or running water. 2) DESPITE THE INTERNET, WERE WATCHING MORE, NOT LESS TV. The average American watched 280 minutes of TV each day in 2009, more than four-and-a-half-hours worth and a three-minute increase compared to the year before. A similar rise can be seen around the world, where the average human being watched three hours and 12 minutes worth of TV a day. 3) WHAT IS THE WORLD WATCHING? FOOTBALL, AMERICAN IDOL-LIKE CONTESTS AND TELENOVELAS. The 2010 FIFA World Cup was the most watched TV event in history, broadcast in every country (including North Korea) and garnering an average audience of 400 million viewers per match. More than one-third of Afghanistan tunes into Afghan Star, that countrys version of American Idol. And Brazils Globo network has broadcast locally produced soap operas since the 1970s, many of which reach 80 million viewers. 4) THE U.S. AND WESTERN EUROPE ARE LOSING NEWSPAPER CIRCULATION, BUT THE REST OF THE WORLD IS EXPERIENCING A NEWSPAPER BOOM. In both number of titles and circulation, Asia, Africa and Latin America are climbing at an annual double-digit pace. And China and India are now home to nearly half the worlds top 100 dailies, with the average newspaper boasting a circulation of 109,000 or more. In India alone, the number of paid dailies has surged by 44%, to 2,700 titles since 2005, accounting for more than one-fifth of all newspaper titles on the planet. 5) HERES WHY YOU NEED TO KEEP AN EYE ON FACEBOOK. When it comes to time spent on the site, Facebook crushes all rivals, with six hours vs. less than half that time for every other site in the top 10. Facebooks user base is 517 million people, 70% of whom live outside the U.S. According to a DDB study of 1,642 international Facebook users, the average

self-avowed fan is 31 years old and follows nine brands. Three-quarters (76%) have already pressed like to signal they are a fan of a brand. In return, they expect special treatment (95%) and are willing to advocate for the brand if necessary (94%). 6) CYBER CAFS ARE THE ENTRY FOR EMERGING MARKET POPULATIONS TO GET ONLINE. The innovation of cyber cafs has helped spread internet use in emerging markets. In South Korea, people can rent broadband access for roughly 80 cents an hour, eliminating the need for costly monthly subscriptions, and leading to Koreans embrace of social networking and multiplayer online gaming. Cyber cafes or warnets have since spread to Indonesia, where only 5% of homes have a PC; and to Brazil, where the cafes are known as LAN houses and have hourly rates as low as $1. 7) BRIC LEADS FOR ONLINE VIDEO CONSUMPTION. Brazil, Russia, India, China and Indonesia are home to the most avid consumers of online video. Internet users in China and Indonesia, for example, were 26% more likely than the average user globally to watch online video, while Indian viewers were 21% more likely and both Russians and Brazilians were 11% more likely. Increasingly, the internet will become TV. In 2009, one third of all internet traffic was video. This year, that figure will climb to 40%, on its way to a projected 91% by 2014, according to Cisco. 8) INTERNET USAGE AND PENETRATION RATES ARE HOBBLED BY ACCESS COSTS. MOBILE ISNT. Only 81 million Indians (7% of the population) use the internet, but six times as many (507 million) have mobile phones. The same pattern is playing out worldwide. Witness PC vs. mobile penetration rates for China (20% vs. 57%); India (4% vs. 41%); Brazil (32% vs. 86%); and Indonesia (5% vs. 66%). 9) NETBOOKS, E-READERS, TABLETS WILL DRIVE GROWTH OF INTERNET USE. The proliferation of new screens, netbooks, e-readers and tablets is expected to quadruple global IP traffic by 2014, according to Cisco. By then, the equivalent of 12 billion DVDs will be criss-crossing online monthly. The biggest growth driver is video-data-rich 3D and HD streams delivered to computers, TV sets and to phones, which will lead global mobile traffic to double every year for the foreseeable future. 10) FOR THE FORESEEABLE FUTURE, THE FORECAST FOR THE PLANETS MEDIA HABITS IS IN A WORD, MORE. Time spent with computers has tripled over the past decade among kids age 8 to 18. The bulk of this groups time is spent on social media, followed by games, video sites and instant messaging. The average kid packs a total of 10 hours and 45 minutes worth of media content into a daily seven and a half hours of media exposure. Just think how this group will consume media in 10 years when they enter the work world and start consuming in earnest.

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Advertising Age December 6, 2010 MATCH.COM IS HOOKING UP BY GOING IT ALONE; Marketing head Ginsberg bypassed agency, made reality spots to connect with singles BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. 18 Vol. 81 LENGTH: 1259 words

In a world with arguably countless opportunities online to meet people-as well as feel-good ads that tell the storybook tales of found love-where does a traditional dating site fit in and stand out? Finding that sweet spot amid the Facebooks and eHarmonys is the task of Mandy Ginsberg, exec VPgeneral manager of Match.com, and shes relying on the stark reality of actual dates-and, for the first time, no agency-to get it done. And so far, its paying dividends: Match.com, an IAC company, has seen meteoric growth in the last quarter in both revenue and new subscribers. Late last week Match.com CEO Greg Blatt was named CEO of IAC. By the end of the year, it will have dropped 100 different commercials in its latest campaign, launched in May. And all those spots have been shot, produced and edited without a creative agency. The latest campaign features real Match users on real dates, filmed with reality-TV production company Picture Shack. This no-entertainment-agency strategy has meant many late nights and weekend calls for Ms.

Ginsberg, who heads marketing strategy for the sites North American operations, but its also been fruitful: Match.com increased paid subscribers 30% year-over-year during the third quarter and increased profit by nearly 50%. The reality-TV-style campaign came a year after Match split with Hanft, Raboy and Partners-ending a six-year relationship-and selected Campbell Ewald, who launched The Beginning campaign, the predecessor to this current effort. But then the idea to film real dates with Picture Shack came up and Campbells role became moot. So we ended up going down that path with just the production company, said Ms. Ginsberg, who left her role as VP-worldwide marketing at software company i2 Technologies in 2006 to serve as general manager of Match sibling site Chemistry.com. She later moved to head marketing for all of Match.com North America. (Match, which spent $54 million in U.S. measured media in 2009, according to Kantar Media, still has a media agency; Mullen, Boston, has placed those 100 spots.) Ms. Ginsberg, a self-professed risk-taker whos committed to being honest with her customers in a category where over-selling is the norm, talked to Ad Age about why Match.com is focusing on first dates, rather than lifelong love and marriage, as well as the trials of going without an agency and juggling 100 spots. (And in case youre wondering, Ms. Ginsberg met her husband eight years ago at work, not on Match-though a childhood friend and her CEOs brother both met their spouses on the site.) What preconceptions in the marketplace were you dealing with? Match is a big place, but to humanize it, we showed all the great people you can meet. But we took a step back at the end of 2009 to really focus on the value proposition. At the end of the day, we really want to get people to meet, to have email communications, to go on dates. We wanted to focus on the beginning of those relationships. What we were trying to encapsulate was the journey, not the destination, and show that success on Match is going out on a great date that will end up in a relationship and marriage. How did that play out? The first campaign launched at the end of 2009: The Beginning campaign, which really got to the beginning hopefulness of relationships. People liked the campaign, but something was nagging me. I really wanted to go to a place that was real, authentic and raw, and that showed that hopefulness of people going on a first date. So we did something that was a little untraditional. We talked to a company called Picture Shack that did work in reality TV. We then identified two people on Match and asked them to go on a date. We put a mic on their backs. They had never met each other, and we basically got out of the way. You saw a lot of excitement of the date, and also the awkwardness. What we realized is that we were on to something interesting. Whats the benefit to potential users of Match of showing real people? Our biggest competitor features people who have met and married and share their testimonials about how happy they are and how in love they are [in ads]. But that seems a very long way out for the

consumer. The consumer insight is that, particularly for people who are divorced or dont have social circles where they can meet a lot of people, meeting someone great is not that far away. If we can just show the experience, more people will think the bar has been lowered. How did this new creative strategy affect your media strategy? Even if you look at some big brands that run two or three campaigns at a time like Geico, I never have had any colleagues talk about the sheer number of spots [we see in this campaign]. They always talk about burnout, where you have a certain amount of time to run a certain number of spots. For us, whats been a big shift is putting the sheer number of spots in the market and part of that is to reflect this pulse of so many dates happening at any given moment. I talk to friends [in marketing] and they think its crazy. They say, How can you afford it? How can you afford it? This all happened with the same production budget, because of the way were shooting and the way were working without an ad agency. How did you end up without an agency? We were in an RFP process and we had this idea. We had this vision about the campaign, and when we started talking directly with the production company, we decided to try this out with one date. When you work with an agency, you work with many different vendors. With Picture Shack, it was a one-stop shop. We used directors [our contact has] worked with and then everything was done in the production shop form preproduction all the way through to editing. We have the same team touch every piece of the entire campaign; I think its pretty unheard of in the industry. Has the approach put more on you? It has. To be honest, I dont think we realized how much work it would be without an agency. Weve definitely been looking opportunistically for agencies to work on different initiatives, but so much of our business is about advertising and the perceptions in the marketplace, we really had to be close to it. The agency-company relationships are changing. If consumers change so quickly and fundamentally on the internet, especially [as they have] in the last 12 to 24 months, agency roles are changing, too. Thats why were working with a small team of innovative people who can jump in and roll up their sleeves and own this with us, vs. hiring large agencies. How was the whole 100-spot, no-agency approach received internally? At the beginning of 2010, I never imagined we would be producing almost 100 spots this year! But Greg [Blatt, former Match CEO and now CEO of IAC] and I had a vision which was to demonstrate Matchs value-meeting new people and going out on great dates. Once we saw the charming moments, we realized we had something special. What keeps you up at night? There are more than 92 million singles in the U.S. and yet only a small percentage use an online

dating site. Part of our job is to let people know it is a great way to meet new people and continue to break down the stigma. 5 TIPS 1. Dont be afraid to take (calculated) risks. 2. Trust your gut (if you have good gut instinct). 3. Dont listen to anyone who says, this is how it is always done. 4. Its all about the details: The difference between good and perfect can be just one line, one edit. 5. Always put yourself in the shoes of your customers-what do they want? And how do they think and feel? LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 WITH TRAFFIC JAM IN SUPER BOWL, CAN ANY AUTO BRAND REALLY WIN?; Hurdle is much higher to make ads stand out in whats so far an eight-car pileup BYLINE: RUPAL PAREKH AND BRIAN STEINBERG; RPAREKH@ADAGE.COM, BSTEINBERG@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1121 words

When americans tune into the Super Bowl on Feb. 6, they should expect to see as much metal as they do pigskin. Car marketers, having woken from their recession-induced ad slumber, are doubling down for Super Bowl XLV in Arlington, Texas and setting the bar sky high for auto companies and their ad agencies to craft commercials unique enough to break through the clutter and capture viewers attention. Although car ads have long been a staple of the Big Game-the premier U.S. TV broadcast that commands as much as $3 million per ad-2011 is shaping up to be the biggest auto-ad showdown in recent memory. As of press time, at least eight different auto manufacturers had purchased airtime. Whats more, many of them are buying more ad time than they have in the past, and raising the ante with two or three commercials sprinkled throughout the broadcast. Six car makers ran a combined five minutes and 30 seconds worth of ads in Super Bowl XLIV, up from five manufacturers running three minutes worth of commercials in 2009, according to WPPs Kantar Media. Ad Age last week broke the news that BMW North America will return to the game after a decade, seeking to use the Super Bowl as a stage to launch a new slate of cars. General Motors, which had sat the past two games out, is back in with a focus on Chevrolet, top marketer Joel Ewanick told Ad Age earlier this year. Chrysler, the only U.S. automaker to show up in the last Super Bowl broadcast with a single ad for Dodge, is back in and this time wants at least two brands in the game, according to people familiar with the matter. Audi of America is making its fourth consecutive Super Bowl appearance and will be in the games first commercial break. Volkswagen, which aired one Super Bowl ad the last time around, will return with the purchase of an additional spot. Kia, which last ran a 30-second spot, will run a 60-second ad in Super Bowl XLV, while Hyundai Motor America will air three ads-one more than it did in 2010. Mercedes-Benz will air one 60-second spot in the fourth quarter from Merkley & Partners, timed because the company has four new product launches next year and it is the 125th anniversary of the brand. Were up nearly 20% and want to ride that wave its a good way to start the year, said Donna Boland, corporate communications manager at Mercedes Benz USA. Indeed. Many automakers are bouncing back, posting healthy sales results after bankruptcy filings, government bailouts and recalls, and like Mercedes, they have news to share about new models-in BMW and GMs case, electric car models. It all adds up to car makers heftily contributing to the record sellout of the game. News Corp.s Fox, which is broadcasting the game, booked 80% of its ad inventory by June, and by October the network announced the Super Bowl was sold out. Now comes the real challenge: After spending all that money, how do you get your messages to cut through? Since so many car ads look the same, the chance of their being recalled by consumers is low. Most top broadcast-network shows have a car ad in nearly every commercial break, often showing an automobile or truck traveling on an open road or city street while pop music plays in the background.

Making things worse, car makers over the past two years have grown more conservative, trading humor and emotion for retail-oriented messages. Steve Wilhite, who spent 20 years at VW of America and was the client behind Arnolds famous Drivers Wanted campaign, describes car advertising these days as absolute dreck, mind-numbing and uninspiring. In the history of Super Bowl advertising, car ads havent been known for being very memorable. Super Bowl car ads are pretty much DOA-dead on arrival for ad likability, said Chuck Tomkovick, a marketing professor at University of Wisconsin, Eau Claire. Experts say carmakers will now have to work doubly hard to avoid familiar tropes or themes. You must have a key, new, innovative, value-laden message to put out there, said George Cook, executive professor of marketing and psychology at the University of Rochesters Simon Graduate School of Business. To combat the problem, ad-buying agencies representing many top automakers usually ask TV networks not to run ads from competitors during the same commercial break. Even so, these rules only apply to national commercials, and ads from local stations can sometimes run in the same ad pod. Ad buyers with knowledge of automobile marketing have often said that consumers ability to recall individual car ads gets weakened as more of them air. A spokesman for Fox Sports declined to comment on how it might arrange Super Bowl ads from similar advertisers. For many of these show-the-metal marketers, it depends on what you want out of the day, said Jeff Goodby of Goodby Silverstein & Partners, which now serves as the agency for Chevrolet, but two Super Bowls ago crafted Hyundais ads. The Hyundai Assurance spots wouldnt have won the USA Today ad meter, but they were certainly written about in the wake of the Super Bowl a lot. There are also things like Angry Bosses [an ad that aired in Super Bowl 2009] which did do well on the polls because it was designed to be something people remembered, laughed at, talked about. Said Mr. Goodby: I hope we do a combination of the two things we talked about-a big idea and some things that are really fun to watch and memorable. I feel really good about having Chevy as a brand to do this with because they have a distinctive identity and brand to build on. Cameron McNaughton, an automotive marketing consultant, pointed out that no amount of experience or testing can guarantee a winning Super Bowl ad. The thing about the Super Bowl that is such a challenge for auto manufacturers and their agencies is you have to step out of the traditional auto creative comfort zone, and having done that, you may still get panned the next day. Asked to give his predictions for winners this February, he ranked Audi and its agency Venables Bell & Partners No. 1, followed by Chevrolet and Goodby Silverstein. I hope one of them finally manages to take out Doritos for best spot, said Liz Vanzura, chief marketing officer of MMB in Boston, who formerly served as the global marketing director for GMs Cadillac brand. How come a nacho-chip brand can knock out some of the sexiest car brands year after year? The brands should take advantage of the stage the Super Bowl gives them and run their most edgy, emotional, fun and entertaining work. One big car advertiser hopes to stand apart from the pack by not joining it. Ford Motor Co. will

advertise only during Foxs pre-game coverage, said Matthew VanDyke, director of U.S. marketing communications at Ford. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE CREATIVITY PRODUCTION A-LIST SECTION: Pg. 12 Vol. 81 LENGTH: 77 words

Here, Creativitys annual list of the ad worlds production leaders, those responsible for bringing to life some of the best brand ideas of the year and evolving the very notion and nature of a production company. Our A-List represents an array of production players, in turn representing an evolving industry. And this year, it represents the best of the best; for the full lineup of 2010s leading production shops, visit Creativity-Online.com/ProductionReport2010. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 DANA ANDERSONS CELEBRITY RULES FOR DIGITAL MARKETING; What you can learn from stars such as Lady Gaga, Robert Downey Jr. and Angelina Jolie BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 377 words

Dana Anderson, senior VP-marketing strategy and communications at Kraft, brought her lessons in how to become a bad boy (or girl) of digital to the conference, often using a gaggle of pop-culture icons to illustrate her point. Here are a few of her simple rules. HAVE SWAGGER Ms. Anderson first looked to bad boy Robert Downey Jr., whom she dubbed the king of swagger. If you want to inspire people to go with you, you need the charisma and swagger, she said. FOSTER EXPERIMENTATION Pilot is my new favorite word: It means we are going to learn and going to have less risk, she said, adding, Playing beats math. Were not going to worry about that [measurement] right now, were just going to play. That experiment mindset could also lead to an unexpected valuable discovery. Two things I want you to remember are penicillin and electricity, she said. Should we do social media? is kind of like saying Should we get a light bulb? when electricity was invented. PLAY HOUSE A next step is bringing people together in a more meaningful format than a training session. At Kraft, those events are called digital hothouses. People are asked to bring their work problems to the hothouses and can expect to leave with an outline of a solution.

Its not that people dont like training; they just dont have time for it, she said. If you make it valuable theyll show up. DONT SETTLE Ms. Anderson stressed that marketers should follow the lead of Angelina Jolie, who never settles. This advice especially applies to staffing, talent and agency partnerships. Not only do I want my guys to demand the very best, I want them to be the best, too, she added. She outlined the Rule of Two, where on an attractiveness scale of 1 to 10, a person can only date someone two points above or below them. Lets say I am a five, I can date two up and date two down, she said. The same thing applies to being a great client. If youre a 5, youll buy a 7 or 3 [campaign], but what are the chances youll inspire a 10? KISS AND TELL Following pop star Katy Perry, Ms. Anderson says we should remember to kiss and tell. (Ms. Perry kissed a girl, and she liked it.) Especially in large organizations such as Kraft, marketers have to remember to share successes and new projects. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THERE ARE NO REAL WINNERS IN WAR ON CHRISTMAS SECTION: Pg. 16 Vol. 81

LENGTH: 615 words

News from the frontlines in the War on Christmas this year shows that the American Family Association, representing the word Christmas, has claimed a decisive victory on the marketing front. Randy Sharp, director-special projects at the AFA, said that in the past five years the group has seen the percentage of retailers recognizing Christmas in their advertising rise from 20% to 80%. Struggling to find big, national retailers on which to focus its efforts-or ones that might listen at any rate-the group settled on Dicks Sporting Goods. Its sin? Hosting a Holiday Shop on its website. Within a week of the AFA announcing it was targeting Dicks, the retailer gave in. Though its protests and boycotts verge on bullying and dont sit well with us, the AFA has a point. This is, first and foremost, the Christmas season. The overwhelming majority of those hitting the stores in late November and early December are folks shopping for Christmas. Retailers shouldnt be afraid or ashamed to call a Christmas sale a Christmas sale-especially if the entire store is decked out in overt Christmas imagery. So how did Holiday briefly usurp Christmas? To hear outraged pro-Christmas forces tell it, it was a craven show of politically correct thinking by marketers afraid to offend non-Christians with overt religious imagery. Never mind that we cant actually recall Jews, Muslims, Buddhists, Hindus, Sikhs, Zoroastrians or others demanding that Christmas be replaced with holiday. Wed bet on a mix of two other options. One is that marketers-especially those in urban areas with more multicultural populations-simply wanted to be seen as inclusive. They werent excluding Christians, they were simply trying to be polite. The other, more cynical explanation, is that they simply wanted to rope more consumers into buying. After all, why settle for Christians buying Christmas presents when you might be able to elevate Hannukah into a major occasion for Jews? So what if it isnt one of the High Holy Days-its proximity to Christmas makes for convenient marketing. Add in Kwanzaa, and youve got a holiday season. Whatever the reason for the switch to holiday, certain Christian groups werent happy about it. For its part, the AFA said it wasnt offended by inclusion-say Happy Hannukah all you want-but by the generic use of the word holiday. Its stance is that retailers should not profit from Christmas if they refuse to clearly acknowledge it. So the troops were mustered. The extreme backlash to generic holiday messaging likely caught retailers off-guard, said Ellen Davis, a VP at the National Retail Federation. Now, phrasing around the holidays is much more strategic. At this point, its a conscious decision. Its not just whimsical phrases being tossed around in the marketing department, she said.

Wed say that its a shame that the holiday-er, Christmas-spirit has to be reduced to careful examination in the C-Suite, but lets be honest: This is marketing. Considering these programs break during the most crucial buying time of the year for retailers, execs should be choosing their words carefully. Ironically, the AFA in winning this battle may be losing a wider war. By browbeating retailers into replacing Holiday with Christmas, they can be seen as contributing to the crass commercialization of a religious celebration. This is something many faithful Christians have been concerned about for decades now, watching as one of their holiest days has its soul replaced with blinking lights, ringing cash registers and Santa Claus. Put the Christ back in Christmas is their refrain. Efforts by the AFA and others have done little more than put the Walmart back in Christmas. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 Matters not if youre naughty or nice, gifts will still be few; Consumers will spend same amount or less on holiday shopping this year, says Ad Age/Ipsos Observer survey BYLINE: MATT CARMICHAEL; MCARMICHAEL@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 660 words

Dont be surprised if you get fewer holiday gifts this year-or cheaper ones. According to an exclusive Ad Age/Ipsos Observer survey of U.S. consumers, nearly 85% of consumers predict they will spend the same amount or less on their holiday shopping this year. Whats more, nearly 30% reported that they will buy presents for fewer people. The online survey of more than 1,000 U.S. consumers was conducted in mid-November and found that shoppers are cutting back in a variety of ways. For one, coupon use was up last year during the recession-reversing a 17-year decline-and is projected to further increase in 2010. More than half of those surveyed (60% of women, and 41% of men) clip coupons most of the time or always and only 27% said they pay full price with that frequency. Already, more than 25% of survey respondents reported using daily discount sites like Groupon or Living Social, part of a category that has exploded in the past year. While this is likely helping the consumers bottom line, its not necessarily having the same effect for marketers. SymphonyIRI Group data show that coupons are not driving incremental sales. They are more likely to offer discounts to those already planning to buy, thereby cutting at the margins for retailers. Its more evidence that marketers should not jump on the coupon bandwagon just because their competitors are since discounts arent likely to drive brand switching. Its the program of last resort, said Sean C. Seitzinger, senior VP of SymphonyIRI, consulting and innovation. He said the best coupons are highly targeted, pointing to Safeways Just for U promotion in Hawaii as an example of a marketer utilizing an effective market-to-one strategy for coupons. More subtle cutbacks are in play as well. Only 7% of respondents said they would be buying for more people. The majority said they shop for at least six people during the holidays, with 11% filling 16 or more stockings for family, friends and coworkers. While the National Retail Federation predicts holiday sales will be up a modest 2.3% this year, that spending might not be distributed evenly. As the economy struggles to bounce back amidst still-high unemployment, some consumers are feeling the recovery faster than others. Shoppers hunting for deals and convenience increasingly turned online during the Thanksgiving selling season. Coremetrics reported sales jumps of 19.4% on Cyber Monday, 9% on Black Friday and 28% on Thanksgiving Day when many retailers started rolling out their Black Friday deals early. These numbers far outpaced the nearly flat sales at physical store locations. The Ad Age/Ipsos Observer survey found that more than seven in 10 consumers are now comfortable making online purchases, while only 16% are still wary. But nearly half of respondents said they do less than 25% of their shopping online. What do they buy? The majority of consumers purchase items in categories such as clothing (65%), electronics (62%), music (38%), and travel (57%). Online grocery purchases havent hit that same critical mass yet with only 13% saying they make food purchases online. In-store grocery shopping was another major focus of this Ad Age/Ipsos Observer survey. Of those

who do the majority of their households grocery shopping, more than three-quarters said they shop at a grocery store at least once a week. The majority still take the time to eat together with their families on most nights, although they are evenly split on whether they cook from scratch or use pre-packaged dinners. Some 25% reported they buy food from a convenience store, 35% from Walmart and 42% eat out at restaurants at least once a week. Walmart is so far winning the superstore-supermarket war. Target was listed as an at-leastonce-a-week destination for only 16% of grocery shoppers. Consumers who responded to the survey choose their stores largely based on price, although location and a large selection of brands also factor into the decision. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 Why LinkedIn is the social network that will never die; Facebook may be exploding with its promise of fun, but people need professional presence, too BYLINE: IRINA SLUTSKY; ISLUTSKY@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 1229 words

No matter how successful and monopolistic Facebook gets, no matter how many awesome features Mark Zuckerberg announces in Palo Alto or how many ex-presidents he interviews, none of it

appears to be slowing down LinkedIn, the social network that doesnt want to be known as a social network-the one thats about having, getting and keeping a job. In fact, every second that ticks by, LinkedIn gets a new user. So by the time you finish reading this sentence, two or three new people have signed up for the professional network-most likely in Brazil, where LinkedIn is growing fastest and where it just launched a Portuguese version. Since 2003, LinkedIn membership is up to 85 million, meaning that Facebook seems less and less likely to turn LinkedIn into Friendster, MySpace or Orkut. In fact, LinkedIn has nearly doubled its employee count, going from 500 in January to 900 by the end of this year. So how does the social network fit into an ecosystem increasingly owned by Facebook? The arrival of Facebook has made LinkedIn ever more important, said David Berkowitz, senior director at 360i, adding that Facebook can never replace LinkedIn because the two are diametrically opposed in terms of their raison dtre. From early on, LinkedIn was very professional-had a polish that felt safe for business, and they kept social networking to a minimum, he said. On LinkedIn, you cant do lots of social things such as post photos or tag your friends. LinkedIn CEO Jeff Weiner said out at this years Web 2.0 summit in San Francisco, that Facebook is about kegs and keg stands. Using his analogy, one would assume LinkedIn is about office watercoolers. But you also cant stop progress. Many of the social features that LinkedIn has been very slow to add, such as its own version of a like button and a new Company Pages feature, have come this year at breakneck pace. Mr. Weiner, LinkedIns third CEO, isnt worried about the competition. Facebook is broad and horizontal, and its killer apps are social gaming and sharing, he said. Twitter is an app for social communication that is used for broadcasting what youre up to. LinkedIn is a professional network. Is it OK to have fun on LinkedIn? Fun is in the eye of the beholder. Do you have fun at your job? Mr. Weiner asked. With LinkedIns hyper-focus on professional networking and job services, its easy to see that the exploding unemployment rate had some impact on LinkedIns growth as people used it and other tools to look for jobs. Membership numbers for LinkedIn in 2007 were 15 million and shot up to over 40 million by 2009, the years when unemployment began to climb sky high. LinkedIn isnt exactly alone in the mass work-network market, if you could reasonably call it that. Paris-based Viadeo has 30 million users and a focus on smaller businesses of emerging markets-its secret weapon is their dominance in China, not exactly an emerging market, but definitely one that can use some nuanced cultural understanding. Next on the list would be Xing, a German company with a member base concentrated in countries such as Turkey, Spain and China, but a member base of 10 million, at least 75 million behind LinkedIn. Mr. Weiner is adamant the users on LinkedIn arent there to share their personal lives with each other, as they do on Facebook. And its true that as a result, LinkedIn hasnt been known for engaging its users with each other. The only way users have related with each other-other than the ubiquitous so-and-so would like to connect with you message-has been the personal recommendation, an endorsement of someones work performance or history.

This kind of engagement is fraught with self-restraint unusual in the social-media world. After all, when your own reputation rests on who you recommend, praise is not quite as easy to throw out there as an LOL or an OMG, Mr. Weiner noted. But no matter how much he protests, LinkedIn has often followed Facebook and Twitter with features that mimic the social networks-sometimes years later. For example, just last week, LinkedIn released its version of a share button, writing on its blog that wed like to offer readers an effective way to share relevant professional content-news, thought pieces, white papers, or presentations on slide share-with their business network on LinkedIn. In other words, not Justin Bieber links. Another feature recently launched is Company Pages, extremely similar to Facebook Pages. Companies have jumped on the feature like a starving hyena on the fresh carcass of an elephant. Just in one week, more than 40,000 companies signed up, since now marketers can use the page to promote new products and yes, engage with their customers. Kodak said the feature is relatively new, but hopes to expand on its capabilities. We have been able to add more information about us and our products/services, said Brian Nizinsky, online marketing manager at Kodak. This gives our audience more ways to interact with us, and that should only increase as the LinkedIn user base starts using those features more. LinkedIn groups have often been downplayed as LinkedIns less-successful features, bringing in low traffic. But Kodak had a different take. We have found that LinkedIn Groups have been a great way to both start and participate in online discussions that are happening only on LinkedIn, Mr. Nizinsky said. We know that the people on LinkedIn use it for business networking and career enhancement so they tend to be more engaged with our content. We make sure we are members of the most active groups that are relevant to our B2B audience-for example, the digital-printing group with over 11,000 members. Once we are part of these groups, we often share content and make sure to respond to any questions and comments that people post. Other features that are more social? Integrating the Twitter stream and launching Recommendations, a sort of like button for the buttoned-up set. Would LinkedIn adopt Facebook Connect, increasingly the identification layer for the web, and even adopted by MySpace last month? No, Mr. Weiner said. Revenue comes from three sources-advertising, premium subscriptions and selling research. Mr. Weiner said the streams are fairly even. Even though as recently as 2009-when the company was raising its last round of funding-Mr. Weiner was comfortable saying to various publications that LinkedIns revenue was close to $100 million per year, he is no longer providing revenue numbers. To some, this could only mean one thing: an IPO. After investing $103 million, its understandable that investors would want some money back. An IPO could make sense. Not surprisingly, investors who actually put money into LinkedIn declined to comment for the record, but a venture capitalist who invested in HotJobs was happy to talk. HotJobs sold to Monster for $225 million in February. An IPO is always a possibility, said Robert Jevon of Millennia Partners, an investor in HotJobs

back in 1998 who saw it go through an IPO. Or a strategic buyer could be a large media company that might think theres a large advertising opportunity there, so they could be interested in buying. Could Facebook buy LinkedIn? Sure, Mr. Jevon said. It could provide them with another offering to add to their suite and Facebook, then could become a larger company with larger reach. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 10 LESSONS FROM THE ME* CONFERENCE: MEDIA EVOLVED SECTION: Pg. 4 Vol. 81 LENGTH: 641 words

Ad Age held its first conference devoted to the changing definition of media last week in New York, followed by a presentation of the first Media Vanguard Awards. Speakers from the media, agency and marketing worlds talked about how their perspectives and plans were shifting; here are 10 lessons from our reporters notebooks. For full coverage of the event, see AdAge.com. BE IN THE COMMUNITY MANAGEMENT BUSINESS Brands cant just spray crowds with messages the way they used to, said Nick Brien, chairman-CEO of McCann Worldgroup. We arent just in the storytelling business, we are in the communitymanagement business, he said. If we are not participating and if the brand is not at the center of the stage, there is no way it is going to be embraced or build an organic business relationship.

KNOW YOUR LIMITS, ESPECIALLY WITH TWITTER Its neat when senior execs or celebs join the conversation, but it can be a time suck. Martha Stewart, who accepted a Media Vanguard Award for Lifetime Achievement, said she doesnt answer direct messages on Twitter and slaps herself if she tweets for more than five minutes a day. ONLINE AUDIENCE MEASUREMENT STILL NEEDS FIXING Publishers still take issue with established web-metrics providers. Bob Bowman, CEO of Major League Baseball Advanced Media, spoke of one service that reported MLB.com had 5 million unique video users in October, he said, when the real figure was 70 million. Mr. Bowman also pointed out that mobile can drive traffic to a companys websites but not drive comparable revenue. One third of MLB.coms visitors came via a mobile device but those visitors generated only 3% of overall revenue. MACHINES CAN MAKE YOU MORE INTERESTING A company called SocialFlow is using math to figure out when you can get the most traction for your tweet. For clients like The Economist, an algorithm looks at potential tweets queued up by a human and compares them to current conversations on Twitter. If talk about the Irish bank bailout suddenly explodes, SocialFlow can pull the trigger on an Economist tweet linking to an article on the subject. REALITY BREEDS A NEED FOR REALITY Millennials have grown up with reality programming, but the genre has blurred the lines between actual reality, hyper-reality and other, more scripted kinds of content. As a result, theres an untapped need for something absolute, according to MTV research head Nick Shore. KEEP IT SIMPLE In an app, too many buttons adds frustration, which has a negative cognitive effect, said Betsy Frank, chief research and insights officer at Time Inc. BEING BIG IS NO EXCUSE I refuse to allow people to use Were big as an excuse for anything, ESPN President George Bodenheimer said during the conferences opening session. The company is a goliath, but that just means competition is coming from all sides. MARKETERS CAN MAKE THEIR OWN MEDIA Digital media and technology is making it easier for marketers to create their own content instead of always buying ad space or time from traditional media companies. MOBILE IS ABOUT PROXIMITY, NOT DEVICE Whether you reach them watching a TV show on a TV, a computer or a smartphone, people are still

people, marketers and media buyers said during a midday panel. But at what point are they a consumer? asked Matt Seiler, global CEO at Universal McCann. Close to point of purchase. The moment of interaction is a much more interesting way of thinking about the cycle of entertained person to engaged shopper. LIGHTEN UP Marketers may hesitate to address serious topics in a lighthearted manner, but GE found that a humorous approach to health care was one that consumers really embraced. Judy Hu, senior global executive director of advertising and branding at GE, said the company earned millions of YouTube views with cheeky videos such as How to Party Your Way to Health. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 Mattels got a monster holiday hit, but will franchise have staying power?; Monster High transmedia play expands beyond dolls to merchandise, apparel and entertainment BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 753 words

Good luck finding Ghoulia Yelps this Christmas. The newest doll in Mattels hot Monster High line has not lasted on the shelf more than 21 minutes,

said TimeToPlayMag.com editor-in-chief Jim Silver. In fact, Mattel has stopped selling the dolls-its first original franchise since Hot Wheels in 1968-on its website anymore, and a spokeswoman said the company is producing everything we can. Scarcity has driven up prices from original suggested retail of $16.99 to well over $40 on eBay and Amazon. Monster High, a line of teen dolls from the makers of Barbie packaged as the children of famous monsters like Dracula and Frankenstein, have names like Draculaura and Frankie Stein, a Twilight twist, hip street fashions and complicated backstories. Draculaura, for instance, is a vegan who faints at the sight of blood. But for Mattel, this is just the beginning. Monster High is intended to be a much bigger franchise than dolls-its a transmedia play that extends to merchandise, apparel and entertainment. The brand, introduced in July, includes merchandise and entertainment ranging from Monster Highbranded clothing at Justice (now out of stock, although a new line of branded clothing and accessories will arrive in January, the Mattel spokeswoman said); cosmetics, jewelry, and dolls at Claires; Halloween costumes at Party City; a music video and webisode series online with a dedicated YouTube channel; a chapter book for teens, written by popular teen author Lisi Harrison (The Clique and The Alphas series); a Halloween TV special on Nickelodeon, and coming in 2012, a full-length live-action musical movie to be produced by the same team behind Hairspray and Chicago. Macys will join as a partner in January with its own exclusive Monster High T-shirts. While the strategy and marketing has been carefully crafted over more than three years to reach tween and teen girls, its also a unique and potentially risky ploy. Take media, for example. With the exception of one TV special, the animated shows are series of 90-second webisodes only available online. Traditional advertising has been small as well, with one TV commercial at launch in this fall (no longer on air) and a smattering of fourth-quarter print in tween-targeted pubs including Seventeen and Tiger Beat magazines. WPPs Y&R is the agency. Monster High is working. The new business model is reaching teens where they live, congregate, play and interact with their friends in the digital media space, said Reyne Rice, toy trend expert for the Toy Industry Association. This is a transmedia storytelling model, since it did not start with a traditional entertainment property first. The tween and teen audience Mattel is targeting already seem to get it. Weve heard girls talk about the shows, but we said wait a minute, there arent any shows. But regardless of whether its on TV or on an iPad in the backseat of the car, its a show to them, said Wynne Tyree, president of Smarty Pants, a youth and family research and brand consultancy. Mattel wouldnt say how much it has invested in Monster High, but analysts peg the figure at easily millions of dollars, reflecting its importance for the company. And Mattel already has some validation of Monster Highs success. In its fiscal third quarter ending in September, it reported that worldwide sales of other doll brands, that is, those other than Barbie, were up 7% over last year, driven primarily by strong performance of the Disney Princess doll line

and the introduction of the Monster High doll line, according to a press release. Overall, Mattels girls and boys brand business was up 8% year-over-year, with $1.17 billion in sales. There has been some grumbling on the blogs that Mattel may have stoked the scarcity by underproducing. But Tim Kilpin, general manager, Mattel Brands, in a statement attributed the shortage to the brands popularity and retailers managing their inventory tightly We manufactured as much Monster High toys as we could to meet forecasted demand. While Mattel has certainly tapped into the current trend of vampire and monster chic, will Monster High be able to sustain the heat? Mattel has believed in it from the very beginning, Mr. Silver said. They saw kids reaction early and felt they had a hit. Id call it a calculated risk. A lot of time, money and effort have gone into Monster High. Something like this can last only a few years, no one can predict if it will go on for 10 or 20 years-but it absolutely could. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 Government says self-regulation of online privacy is coming up short BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 760 words

Government officials took a sharp stance on the issue of online privacy last week when the Federal Trade Commission and the Department of Commerce voiced concerns over the current state of digital privacy and said self-regulation hasnt been sufficient to this point. At stake is nothing less than a $24 billion online advertising industry that relies on tracking technology used in serving ads that fuel much of the free web. While the FTC and Commerce Department have worked closely with the advertising industry for the past few years over how it can best develop a mechanism that would allow people more control over how their information is collected and used, both government agencies declared the industry hasnt been doing enough and instead proposed an alternative Do Not Track program. Were sending a clear message that self-regulation of privacy has not worked accurately, FTC Chairman Jon Leibowitz said in a call with reporters Wednesday. The industry as a whole needs to do a far better job. Some in the advertising industry saw that position as a sharp about-face in stark contrast to what they feel has been clear progress in the industrys self-regulatory program. And they intend to keep working on the programs, in hopes of staving off legislation. We would disagree with the FTC that self-regulation isnt working, said Linda Woolley, exec VPgovernment affairs at the Direct Marketing Association, citing the fact that the industry initiative, called AboutAds.Info, became fully operational a few weeks ago. The industry program is backed by a coalition of advertising trade groups calling itself the Digital Advertising Alliance, comprised of the 4As, the American Advertising Federation, the Association of National Advertisers, the DMA and the Interactive Advertising Bureau, altogether representing more than 5,000 corporations. A significant component of the industrys program includes an icon that will appear on ads and will lead consumers to an opt-out page. Stuart P. Ingis, partner at Washington law firm Venable and lead counsel for the DAA, said that the online-ad industry has delivered the kind of choice the Commission has asked for, and that the business community is in the best position to execute these plans. Part of the recent confusion stems from the fact that while the FTC had long been the primary government stakeholder in the online privacy debate, the Department of Commerce recently announced its intentions to publish privacy guidelines before the end of the year, causing some in the ad industry to wonder whether they would have to scrap their plans and deal with another set of rules altogether. As if to answer that very concern, last week representatives from both government agencies sat sideby-side in front of a House subcommittee to offer testimony on the possibility of Do Not Track legislation. While the FTC posted its guidelines on privacy just a day before the hearing, Commerce plans to release its report in the coming weeks, according to Daniel Weitzner, the associate administrator for the Office of Policy Analysis and Development at the Department of Commerce. According to people familiar with the matter, both Commerce and FTC have been working closely on their separate proposals, and their respective positions would be complementary.

David Vladeck, director of the FTCs Bureau of Consumer Protection, who sat next to Mr. Weitzner in front of the House Committee, said that self-regulation can work if it is improved. But short of improvement, the FTC proposed a Do Not Track. A sticking point, however, is how exactly a Do Not Track feature would work. The Commissions report spells out a specific example whereby a web browser, such as Firefox, would install a piece of software onto the users browser that would signal to online marketers whether that consumer has chosen to make available his browsing habits in return for targeted advertising. But such a mechanism would only be specific to that browser on that computer and not to the specific person, as the Do Not Call legislation offers. Chairman Leibowitz said such a design isnt necessarily the only acceptable method for consumer choice, and Mr. Vladeck left the door open to self-regulation in his testimony, saying that, Such a universal mechanism could be accomplished through legislation or potentially through robust, enforceable self-regulation. The statement also underscored the fact that the FTC cannot enact legislation on its own, and in many ways is working closely with Commerce as a legislative linchpin. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 PEOPLE ON THE MOVE SECTION: Pg. 19 Vol. 81 LENGTH: 712 words

The Nielsen Company has appointed Bill Moult to lead its new media-analytics initiative. As president-media analytics, he will be responsible for the establishment and management of media analytics practice areas including cross-platform audiences and advertising, and Bill will work closely with NM Incite on social media-related insights. Mr. Moult is a founding partner of Media Behavior Institute (MBI), the developer of USA TouchPoints, and Nielsen is a supporter of the USA TouchPoints. He is also a founding partner of Sequent Partners, the brand and media metrics consultancy who jointly with Ball State University delivered the Video Consumer Mapping Study for the Nielsen-funded Council For Research Excellence. Prior to cofounding Sequent, he was president of the Marketing Science Institute. John Ford has been named president-programming at ION Media Networks. Mr. Ford spent the previous 13 years at Discovery, where he acted as co-executive in charge of production for the BBC/Discovery coproduction Life, the president and general manager of Discovery Times Channel and Military Channel, president-new media for Discovery Networks U.S. and the executive in charge in the launch of Discovery Health Channel. Prior to Discovery, he was exec VP-programming at National Geographic Channel. Mail Boxes Etc. has appointed Michelle (Cervantez) Van Slyke VP-marketing. Ms. Van Slyke has more than 22 years experience in marketing, including 15 years with Ford Motor Company, holding positions such as corporate advertising manager and global process and strategy manager as well as VP-marketing for Jaguar. She gained additional experience working with automotive dealers as VPmarketing at Mercedes-Benz and later Hyundai Motor America. Ms. Van Slyke was twice named one of the 100 Leading Women in Automotive by Automotive News magazine and was one of the recipients of Advertising Ages Women to Watch Award in 2003. She also has been recognized as among 100 Influential Hispanics and 80 Elite Women in the U.S. by Hispanic Business Magazine. Tom Gruger has been promoted to the newly created position of VP-global marketing at Wilson Sporting Goods. He comes into the position after serving as global marketing director for the Wilson Golf division for six years. In his new role, he will manage the Wilson brand position across diverse product categories and global markets as well as develop strategic global business initiatives. AOL Advertising has hired Debbie Menin as head of entertainment marketing. Ms. Menin was recently VP-branded entertainment at Parade and Parade.com. Before that, she was VP-national entertainment director and VP West Coast director. Prior to Parade, Ms. Menin spent time at MTV Networks and held VP-level positions with the launch of E-Zone Networks and the College Television Network (now MTVU). Additionally at AOL, Mike DeLuca has been named head of sales for AOL Local. Mr. DeLuca will build and oversee a regional and local sales team for Patch, Citys Best, MapQuest and Wow! Deal of the Day properties. His team also sells geo-targeted AOL.com and AOL Mail. He joins AOL from Yodle, where he was the senior VP-sales and marketing. Prior to Yodle, Mr. DeLuca served as VP-sales for Yahoo!s HotJobs division. Martha Stewart Living Omnimedia has tapped Sarah Gormley as senior VP-communications and marketing. Ms. Gormley joins MSLO from IMAX Corporation, where she has worked for the past five years, most recently as VP-corporate communications. Prior to IMAX, she held senior-level

communications positions at National Financial Partners, Fleishman-Hillard and Edelman Public Relations Worldwide. Converseon has appointed Mark Kovscek senior VP-enterprise analytics, a new position. Before joining the social-media consultancy, Mr. Kovscek held a number of leadership positions in analytics and technology at Public Groupe. Recently, at Starcom MediaVest Group, he was responsible for building the next generation of analytic solutions to enable communications planning and mediabuying solutions on a global scale for P&G. Prior to that, he was at VivaKi Nerve Center developing products and solutions to create digital advantages for Publicis Groupes media agencies. Submit people moves to Anna Baskin at abaskin@adage.com LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE PRODUCTION A-LIST; Biscuit Filmworks SECTION: Pg. 14 Vol. 81 LENGTH: 257 words

FOUNDED 2000 Biscuit frontman Noam Murro saw one of his best years in 2010, having claimed the title of mostdecorated director in Creativitys Awards Report, largely on the merits of 2009s much-honored Imagine campaign for HBO. But last years news was just a lead-in to an equally impressive 2010,

which saw the director move onto spaceships and Spartans for agency215s epic launch of the much anticipated Halo Reach. The effort included the cinematic teaser for the games beta release, The Birth of a Spartan, followed by the ambitious and spectacular Deliver Hope, a live action online film depicting a massive battle between the games Noble team and Covenant invaders. He dived into more sci-fi stunts for Droid Expedition, while showing artful and comedic touches on vignettes for Stella Artois Thing of Beauty campaign, Dockers Men Without Pants, and Liptons history of the Mission Impossible theme, among others. Notable moments also came from Tim Godsall, who conducted a study of opulence for DirecTV and Grey; shot frank, feminine moments for Kotex; and staged a showdown for Comcast. Bo Platt made massive breakthroughs for Ad Council, and Aaron Ruell brought his impeccable comedic timing and eye for detail to FloTV and Kayak.com. Newcomer Aaron Stoller also generated plenty of laughs in his celeb-studded promos for the MTV Movie Awards, while Steve Rogers, the man behind Leo Burnetts Space Monkey for WWF (produced out of Revolver), recreated a scene from the Revolutionary War for Dodge and Goodby. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE CREATIVITY PRODUCTION A-LIST; DIGITAL PRODUCTION COMPANY OF THE YEAR SECTION: Pg. 12 Vol. 81 LENGTH: 1058 words

B-Reel

Superior work for Google, Mitsubishi and others lands shop in a league of its own When Anders Wahlquist, Petter Westlund and Pelle Nilsson first opened the doors of their digital production outfit in Stockholm in 1999, their goal, says Mr. Wahlquist, was to keep their feet on the ground, stay true to basic beliefs and build something lasting-which is why they playfully named their company B-Reel. No doubt keeping it real has become a bigger struggle as the shop deals with a growing profile on the global advertising scene. Now boasting offices in New York, London, and Los Angeles, the company first made waves in the States with groundbreaking integrated and digital campaigns such as Fallons Infinite Oz effort for SyFy, and Goodbys Hotel 626 and Asylum 626 fright fests for Doritos. In 2010, however, B-Reel came into its own, cementing its status as an elite digital player with some of the years most talked-about, boundary-pushing and category-redefining productions-making it the hands-down choice for our Digital Production Company of the Year. Most notably, B-Reel put desk jockeys at the wheel, literally, of Mitsubishi cars on 180 LAs muchbuzzed about Live Drive. The online test drive allowed users from all over the globe to take a 2011 Outlander Sport for a spin on an actual track from the comfort of their own keyboards, while witnessing the whole experience from the POV of the cars windshield. The effort lasted for 10 days straight, 18 hours a day, and involved everything from robotics and mobile internet to live transmission, live streaming and live maneuvering of the car. The company also made a huge impression with a pair of projects for Google. The first, Chrome Fastball, showcased the speed of the Chrome browser by inviting users to guide a chrome ball across a giant internet obstacle course using various web services such as Google Maps, Translate, Search and Twitter. That effort led to one of the most-talked-about videos about of the year, Arcade Fires Wilderness Downtown. Produced with @radical.medias Chris Milk and Google Creative Labs Aaron Koblin, the interactive music video combined Google Maps and multiple browser windows to immerse users in a highly personalized HTML5 narrative of the bands We Used to Wait track. All in all, these projects point toward the future possibilities in different ways, says cofounder Mr. Westlund. Fastball and Wilderness use common web utilities to create brand interaction, while Mitsubishi balanced on what is technologically possible in so many ways. Overall, the companys digital output feels solid now, says cofounder Mr. Wahlquist. In 2009, we did some great work, but [projects were] too far in between. This year, we had smaller and larger projects intertwining, making the digital side so much more stable. The shop also mixed it up with an interactive video for Perrier, starring Dita Von Teese; an augmented-reality enabled talent show for TalkTalk, out of CHI and Partners, London; 56 Sage Street, an online game that helped teach teens financial smarts, for Barclays out of BBH; and the Drop Everything For Love website (JWT, New York) which dared couples to declare their love from their webcams, for Diamond is Forever. And across the job spectrum, B-Reel founders are only seeing a growing demand for invention and technological experimentation. Previous years have been super cool, but this year, we have seen pure, cohesive work done in unexpected areas, adds cofounder Mr. Westlund. Before, there were aspects of projects that were super-innovative, but were attached to something more known and

basic. Although our initial intention was to fully integrate our A-List to include both tech-minded and traditional shops, B-Reel was such a distinct standout in digital that it deserved its own title. But soon, such categorization may no longer apply. The shop has made notable inroads in realizing the fully integrated model that is becoming ever more crucial to tackling the multiplatform, technologically demanding campaigns that are now the industry norm. B-Reel launched its film division B-Reel Films last year, after partnering with Stockholm-based production company St. Paul. We have always been working with film, designing our work process after the filmmaking process, so starting B-Reel Films did not change things too much, says cofounder Mr. Nilsson. The Films side is home to 15 directors, 12 based in Europe and three in the U.S.-new addition Emil Mller, as well as Anders Hallberg and Tom Malmros, two hybrid talents well-versed in working on both sides of the digital divide. (Mr. Hallberg was the director on Ikeas award-winning Dream Kitchens, while Mr. Malmros was the talent behind the Doritos 626 projects.) Although many companies are working to integrate across all production platforms, B-Reel only stands to benefit from its digital roots. The difference is we have these three master storytellers at arms length in everyday work, and having the possibility of pulling them into creative meetings, adds Mr. Nilsson. They are surprisingly excited to participate early on in concepting, and really bring something extra to the table. It adds to the culture. While Films in the States is admittedly a startup, Mr. Wahlquist notes, B-Reel has dedicated significant resources to ensuring its growth, launching an L.A.-based Films office, steered by Mr. Nilsson and executive producer Susan Rued Anderson, with plans to open a London Films hub this winter to have films and digital side by side in every office. Going forward, its easy to imagine the company evolving from a production outfit to a full-blown creative shop working with its own clients, as has been the case with other successful digital players like Big Spaceship and Firstborn. But the B-Reel founders for now are content with their current model. If we can get exciting work from agencies, and get paid enough to keep our best people and help them grow internally, and to do this on an even wider international scale, then we are pretty happy, says Mr. Wahlquist. We dont want to be an agency. We could take on direct clients, if they know their basics and what they want, but, its not a goal in itself. We really only want to do cool work with high value, and to have some fun while doing it. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE PRODUCTION A-LIST; @radical.media SECTION: Pg. 14 Vol. 81 LENGTH: 354 words

FOUNDED 1993 @radical.media made headlines earlier this year with the announcement that Fremantle, the global entertainment giant behind shows such as American Idol and The X Factor, had purchased a 60% share of the company. It wasnt that much of a shocker, however, considering the companys expertise in an expanding range of entertainment production. As expected, the shop steered more impressive long-form efforts-among them, Sonys Rocket Project, a branded documentary out of 180 LA; the soon-to-debut film Blue Valentine, directed by Derek Cianfrance and starring Michelle Williams and Ryan Gosling; a fifth season of Sundance Channels The Iconoclasts; and IBMs Watson, a series of shorts documenting the tech companys creation of Big Blues successor, Watson, a robot designed to compete on Jeopardy. Now branding itself as a transmedia company, @radical carried on further into new territories. During this years TEDMED Conference, it premiered the Medica iPad app, a gorgeous interactive collection of rare medical illustrations. Perhaps more impressively, a number of its projects unveiled new digital possibilities in the world of music marketing. Terry Gilliam got on stage to direct Arcade Fire during a live performance at Madison Square Garden and for an online film sponsored by Amex, while artist/director Chris Milk, along with Googles Aaron Koblin, launched a pair of buzz-making interactive music-video experiments. The Johnny Cash Project crowdsourced fans to create an online video for the artists final studio recording, Aint No Grave. The Wilderness Project for Arcade Fire, a personalized, interactive music video (produced in conjunction with B-Reel), turned the Chrome Browser into a unique stage for showing off the bands We Used to Wait track. And lest we forget, @radical is in the business of commercials, too. Steve Miller introduced Ray Lewis to Old Spice, and sent Dos Equis Worlds Most Interesting Man into snow monkey and jai alai territory, while Tarsem brought a little badness to a lush spot promoting Las Vegas new boutique hotel, The Cosmopolitan.

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Advertising Age December 6, 2010 THE CREATIVITY PRODUCTION A-LIST; PRODUCTION COMPANY OF THE YEAR SECTION: Pg. 13 Vol. 81 LENGTH: 891 words

Smuggler Bringing its A-game, team knocks it out of the park in spots for brands such as Nike, Puma, AT&T Creatively speaking, 2010 was a tough year. Looking back on the overall output of spots alone, it was apparent that fewer interesting opportunities presented themselves, with the more daring and flavorful work distributed sparsely across the reels of all the production players. So it was quite the accomplishment for Smuggler to present the portfolio it did in 2010. The two-time winner of Creativitys Production Company of the Year honor (2004 and 2007) rose to the top of the list again this year, not just for producing some of the best ads, but also for its fine balance of top production player offerings: a forward-thinking approach, fluency in nontraditional, outside-the-lines production, and ambitious experimentation in areas beyond the advertising and marketing world. Spots-wise, Smuggler stood out in 2010. Its directors demonstrated expertise across the gamut of genres, and compared to previous years, I think the scale of the work we did was different, says Smuggler Partner and Executive Producer Patrick Milling Smith. Its been a pretty consistent part of our growth as a company. The directors have gained more experience, many have taken on bigger

productions, and above all, weve stayed the course in pushing to get more value on the screen for the money spent. If productions were strapped financially, it was hard to tell from the reel. Brian Beletic was in peak form juggling multiples in a balletic dance of Mini Coopers in Flow (BSUR, Amsterdam) and in the mesmerizing Human Chain for Nike (Wieden & Kennedy, Portland, Ore.). He picked up the sports brands pace even further on the multisport Boom brand campaign, starring a range of athletes, from Bo Jackson to Manny Pacquiao, alongside high-school players and celebrities. Ringan Ledwidge, who signed to Smugglers roster in 09, stretched from the poetic and soulful Puma After Hours spot (Droga5), which celebrated the brands different kind of athlete, to more character-driven fun in Beings Mr. Peanut resurrection campaign for Planters. Produced along with animation house Laika, the series of spots brought back the famous legume as a smart-talking spokes icon, voiced by Robert Downey Jr. Speaking of animation, Smugglers profile remained top of mind in the category thanks to the experts at Psyop. The team brought sultry, slo-mo art to the gorgeous Revolution spot for Xbox/Fable III and quirky characterizations to Converses All Summer music video (Anomaly), and then leveled up on the whimsical Whole New World 3-D spot for AT&T (BBDO, New York). Meanwhile, Henry-Alex Rubin had a nonstop year. The documentary expert landed among the mostdecorated directors on Creativitys annual Awards Report for his work on American Legacy Foundation and Best Buys Twelpforce, and continued to hone his chops on some of the years more compelling outside-the-box initiatives. He was on call for Renaults Megane Experiment (Publicis, London), an integrated campaign starring the fictional actor Claude, who attempts to bring joie de vivre to the Megane-less town of Gisburn, Lancashire. He also staged some hidden camera action for Mullens Jet Blue You Above All campaign, which placed cab passengers in cramped situations to illustrate the airlines roomier flight experience. Continuing his fast-food run with Crispin Porter & Bogusky, the director moved on from Dominos Pizza Turnaround campaign of last year to the Show Us Your Pizza effort, a massive call to action to Dominos eaters to photograph their own delicious-looking pies for a new print campaign. The rest of the roster round out the package further: laughs aplenty came from Guy Shelmerdine for Snickers Grocery Store Lady and Skittles Plant and Randy Krallman for Kayak.com; Adam Berg imparted visual thrill to Gatorades Float and Jordan Brands Nightmares Never Sleep; while Filip Engstrom brought seamless transitions to a spot for Wii Fit, out of Goodby, Silverstein & Partners. Beyond the ad world, the company ramped up its long-form production arm Smuggler Films, currently in development on a variety of theater and film projects. Come this spring, Smuggler Films plans to launch the stage version of the music Once, on Broadway, written by Enda Walsh (Hunger) and directed by John Tiffany (Black Watch). Its also currently working with screenwriter William Monahan (The Departed, Body of Lies) on a remake of the Peter OToole and Richard Burton classic Becket, and Oscar-nominated writer Will Davis is in the process of adapting A.M. Homes novel This Book Will Save Your Life, for a film with Ivan Zacharias attached to direct.

All the companys 2010 efforts boil down to the same set of rules and goals as the past-to stay relevant, keep everyone excited and have a culture that makes us all motivated and happy, says Mr. Milling Smith. And equally important, when it comes to choosing what work to devote time and resources, its not about interesting projects for interesting projects sake. Its all about the potential of the idea in reaching the most eyeballs, says Partner and Executive Producer Brian Carmody. If were not going to get visibility, its very often not worth breaking the bank to make it happen. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE PRODUCTION A-LIST; Stink SECTION: Pg. 15 Vol. 81 LENGTH: 252 words

FOUNDED 2000 The creative-minded entities that make up the Stink network-Stink, Stink Digital and Skunk-each made significant creative waves in 2010, solidifying the shops reputation as a new model production company. Out of Stink proper, noteworthy moments came from Adam Berg, who shot cats running amok at Ikea for Mother Londons Happy Inside campaign and the vibrant intro spot to Euro RSCG Londons Lets Color campaign for Dulux; and Marco Brambilla, who created a sultry painting in motion for Kanye Wests Power. Out of Stink U.S. production hub Skunk, The Road director John Hillcoat turned his lens to online

films and a spot documenting Wieden & Kennedy, Portlands ambitious efforts to help transform the distressed town of Braddock, Pennsylvania for Levis. Meanwhile, the companys digital arm, which produced last years much celebrated Phillips Carousel, further solidified its cred in the newmedia space with the digital component for Ikeas cat campaign; an interactive catalog/video for Diesel, directed by Arno Salters; and Lexus Dark Ride, an elaborate online adventure that put visitors in the middle of a high-speed chase for the brands Darker Side of Green campaign. Other impressive outside-the-lines projects came from artist/animator Zeitguised, who directed a 3-D spot for Peugeot out of Stink Paris; and Berlin-based duo Bauhouse, who created Sinfonie, an immersive, three-screen video and sound experience for Audi that played at concert halls throughout Europe. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 What does Roger Sterling think of advertising?; Mad Men star John Slattery talks to Piers Morgan about playing the most sexist character on TV and the importance of creative BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 417 words

Piers Morgan, who takes over the Larry King Live time slot on CNN next month, was hoping to tackle sexism in the ad industry during Ad Ages ME* Conference: Media Evolved last week. Happily for him, his interview subject was John Slattery, aka Roger Sterling on Mad Men-and

arguably the most sexist character on TV. But of course Roger Sterling wouldnt go over now as well as he does in the shows 1960s milieu. And Mr. Slattery had plenty of distance to put between himself and his role. Most of my friends that were like that when I was younger are in rehab, he said. Now theyre all sobered up and no fun at all anymore. No fun, maybe, but more tolerable as people. Mr. Slattery wouldnt keep a real-life Roger Sterling very close, he said, except perhaps for dramatic effect and a certain insensitive charm. I think Id be like the people in the show, Mr. Slattery said. They sort of keep him at arms length and roll their eyes at him. Playing an ad man hasnt lent Mr. Slattery much insight into marketing, it turned out. Youd think Id know a hell of a lot about advertising but I dont know shit about advertising. To see these seminal campaigns in the way they were created, the research they put into some of those things is fascinating. David Ogilvy said you can have great creative, but if it doesnt sell product it doesnt mean shit. After four seasons, for its part, Mad Men is still selling itself to audiences and awards judges quite nicely. Its partly nostalgia, Mr. Slattery said, but its also more than that. In those days you could drink, smoke and fuck around and you wouldnt get caught, he said. Or you could look at it as a brilliantly written show, well cast along the lines of The Sopranos or something that isnt necessarily a moral example of how to behave-just good, creative, dramatic theatrical fare on television. As a whole the show has won many laurels, including two Emmys for Outstanding Drama Series, but as individuals Mr. Slattery and other cast members have failed to convert individual Emmy nominations into wins. But the role is still the best job Mr. Slattery has ever had, he said. And its probably got a couple more seasons in it, enough to finish the 1960s. Were in negotiations to do the next couple years, Mr. Slattery said. My bet would be the next two years. We could get to 70 in the last season, which would be great. I could wear platform shoes. Did they have platform shoes in 1970? That might have been a little early. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 WHY FUTURE OF INDUSTRY ISNT ABOUT MAKING ADS SECTION: Pg. 6 Vol. 81 LENGTH: 1620 words

Launching December 7, The Idea Writers offers an in-depth look at the state of copywriting and brand creativity in todays marketplace. With insight on creative process and campaign development from the industrys leading creatives, the book provides solid advice for copywriters at all levels. It also provides a detailed examination of the changes that have completely remade the advertising industry, and is a useful guide for anyone looking to understand brand creativity today. The Idea Writers is the first book from Creativity Editor Teressa Iezzi. If weve got this right, copywriters today are storytellers, conversation keepers, curators and inventors. They are idea generators, executors and technology savants. On any given day, depending on where and for whom they work, these new masters and mistresses of brand creativity and engagement might be writing a script for a web film, orchestrating a transmedia story or conceiving and helping to develop an app. They might be inventing a way for an automaker to contribute to the conversation on conservation by creating an application to encourage efficient driving; they might be working with a handful of top young artists to create a giant Times Square billboard for a retailer and then repurposing that billboard into limited edition handbags; or they might be coming up with commands to give to a chicken. Its a veritable creative wonderland out there. But an explosion of creative opportunities doesnt mean copywriters can escape the scourge that has faced writers from the dawn of written expression: the blank page. With each new project, todays copywriter shoulders the same burden of expectation that has bent every ad creative for the past 150 years and stares into the same yawning void that no three midday martinis could ever fill. So youre some kind of copywriter, faced with some kind of assignment. What do you do? Where do you start? FIRST OF ALL, FORGET ABOUT MAKING AN AD

In the seminal copywriting book Hey Whipple, Squeeze This, first published in 1998, Luke Sullivan noted: When you sit down to do an ad, youre competing with every brand out there. That was and remains partially true in the sense that you certainly arent just competing with Brand As main rival, Brand Z. You are competing with every other brand vying for a share of a consumers money and attention. But today, as a copywriter or other brand-creativity maestro, youre not just making something that will compete with other brands and with other messages created by brands. Youre making something to compete with every other piece of content, every other media experience that a person has during her waking hours. So you are charged with making something that stands on its own as a worthwhile thing for a person to engage with, brand or no brand. Its just that, at the same time, you also have to make the content or experience work for the company or brand involved. We moved our goalposts, says Dave Bedwood, creative director and cofounder of U.K. digital agency Lean Mean Fighting Machine. There is no point making advertising that is better than other advertising; that is not your competitor for peoples time. You are up against all of the things they want to watch and read, the content they are seeking out. We are under no illusion that we can suddenly make popular content that is as good as 24 or Lost or write long copy that is as good as Malcolm Gladwells latest book, but if that is the goal, then your work has a much better chance of making an impact with your audience. Yes, there are more ad messages to compete with. Were talking about brand ubiquity-more messages, more logos, more general brand presence over more channels. At some point over the past several years, youve likely seen some sort of quantification of the noise level in the ad environment; in a 1998 magazine article, marketing guru Seth Godin tossed out 3,000 as the number of ad messages the average American is exposed to in a day. That number has been regurgitated in countless articles and news segments spanning about 10 years. More recently, the number 5,000 has been thrown around. Is it 3,000? 5,000? Or more like 300 or 50,000? And what counts as an ad message? An actual ad? A logo? Strolling by product labels in the supermarket? Well, it sort of doesnt matter because those numbers are at best only a part of the story and at worst a red herring when youre thinking about the challenges of making something relevant for a brand and a consumer. The above numbers are insufficient to describe the shift in behavior that has accompanied the rise of the internet and the widespread adoption of broadband. This increase in brand presence has coincided with a decrease in available uninterrupted attention as the internet ushered in the age of multitasking. And yet more significant, the explosion of branding has coincided with the age of the empowered media consumer, the media consumer who is also now a media producer. If youre under 35, if youre watching TV at all, youre often also doing at least one other thing (texting, talking, co-viewing, i.e., commenting on the show youre watching via Twitter or other social service) with at least one other screen. Much has been made of the effects of internet-enabled distraction on human cognition and culture. In his book The Shallows, Nicholas Carr warns of the

brain-softening effects of the internet-as people grow accustomed to consuming smaller bits of information, each interrupted by the next, we lose the kind of deep thinking and deep reading that was associated with offline reading, aka reading books. Carr says: We want to be interrupted, because each interruption brings us a valuable piece of information. And so we ask the internet to keep interrupting us, in ever more and different ways. We willingly accept the loss of concentration and focus, the division of our attention and the fragmentation of our thoughts, in return for the wealth of compelling or at least diverting information we receive. Tuning out is not an option many of us would consider. For every writer and theorist who proclaims that the internet is making us dumb, there are others who say digital culture is, arguably, shaping better brains and encouraging what could be viewed as more positive societal behavior. In the 2010 book Cognitive Surplus: Creativity and Generosity in a Connected Age, New York University Interactive Telecommunications Program professor and author Clay Shirky notes the astounding figures on TV consumption: Americans consume 200 billion hours of TV a year; someone born in 1960 has already watched 50,000 hours of TV. Shirky talks about the vast potential the damned distracting internet has created-as people shift from being passive consumers of media (from watching TV, and ads) to being creators and participants (contributing to Wikipedia, making and posting videos to YouTube, creating Facebook groups and blogs). Theres a lot more to say and much that can be debated about kids today and why Jayden cant read the Cliff Notes on Moby Dick, never mind the novel. The point here is to determine what this fact of consumer culture means for a copywriter whose job is to earn someones attention and translate that attention into action. The starting point is not to figure out how to make a formulaic thing called an ad that stands out among 5,000 other ads. Its how to connect with a person who is dealing with you on his own terms. How do you make that person want to interact with you, want to share your offering with others. How do you actually matter to him? In an industry that has an embarrassing predilection for catchphrases and clichs, marketing is a conversation has joined the ranks of groan-worthy adspeak. But theres no getting around it. Consumers have voices, they have the means to have a conversation with whomever they want about a brand, whether the brand is part of that conversation or not. So, copywriters have a gargantuan challenge to be relevant, but also a great opportunity to be original, to interact with an audience, to have people talk about, spread and engage with the things they create. Theres been a real cultural shift, says R/GAs Nick Law, away from people believing or even caring what youre telling them in an ad anymore. What matters is if a brand fits into my life somehow. Nancy Vonk, co-chief creative officer of Ogilvy Toronto, says her message to her agencys creatives is to think of themselves as problem solvers, not ad makers. Ideally, begin every assignment looking directly at the business problem (or opportunity) and push up against that with media-neutral thinking. If a client has asked for a print ad or banner ad or whatever specific medium, ignore that and look for a big idea. A great idea that truly solves the problem will be able to channel into that print ad, etc.

The client will see the specific medium they requested, but in the context of a holistic solution that can potentially inform many spaces. You use a very different lens if youre hunting for a TV spot (OK, so I have just 30 seconds to tell a story, heres the kind of short story I can tell) vs. looking for a solution that could be literally anything. Recently a team [proposed] a bake shop when a print ad was asked for. The print ad happened, but it was one small component of a totally unexpected, refreshing solution. For the sake of simplicity, weve employed the term advertising in these pages, but perhaps one of the essential messages to take away from this book is that your job isnt to create an ad. Its to create something useful, entertaining or beautiful (or all of the above) on behalf of a brand. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 MILLENNIALS: THE GREAT WHITE HOPE FOR WINE INDUSTRY; Generation offers category most growth potential in 30 years and 7-Eleven, vintners are taking notice BYLINE: E.J. SHULTZ; eschultz@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 878 words

Meghan Myszkowski was scanning the grocery wine aisle on a recent day when one bottle seemed to jump out at her.

I liked the label, the 30-year-old Los Angeles resident said, recalling her purchase of Layer Cake Primitivo. Its really clean. Its really modern and its not super-traditional. It doesnt have a chateau on it. It has a cake. Ms. Myszkowski is the new wine buyer-one of 70 million millennials whose taste for adventure, quirkiness and convenience will drive the market in the coming decade. The generation, loosely defined as those born between 1980 and 2000, is taking up wine at an earlier age than Gen X-ers and they will buy wine just about anywhere-including the corner convenience store. And 20 million of them have yet to turn 21, meaning they will become an even more powerful force. Yet wine marketers have only recently started zeroing in on the market, as opposed to other lifestyle brands which have been tracking the generation for many years, said one expert. They only start paying attention to us once we turn 21, so unfortunately they are now kind of behind the curve in terms of the research theyve been doing, said Leah Hennessy, 30, who runs a blog called millennier.com that focuses on wine and millennials. Now everybody is playing catch-up. The most recent player is 7-Eleven, which convened a focus group of millennials before launching its latest line of proprietary wines about two weeks ago. The brand, called Cherrywood Cellars, is priced at $7.99 to $8.99 to lure young adult drinkers whom the convenience store chain says might be watching their wallets more closely than Gen X-ers and baby boomers during the economic downturn. We are targeting millennials because they like convenience and to try new products, Jesus Delgado-Jenkins, 7-Elevens senior VP-merchandising and logistics, said in a statement. Although beer remains the beverage of choice for millennials, accounting for 42% of their alcoholic drinks, wine captures 20%-up from 13% for Gen Xers when they were a similar age 10 years ago, according to Nielsen. Drinkers tend to shift to spirits and wine as they get older. If that trend holds, wine will account for 26% of all alcoholic drinks consumed by all U.S. generations in 10 years, up from 24% today, while beer will fall from 41% to 38%, according to Nielsen. The millennial generation offers the wine industry the kind of growth potential not seen in more than 30 years, noted the Wine Market Council in its 2009 consumer tracking study. The last great wine boom peaked in the 1980s as baby boomers matured, but then sales slid, partly because Gen X-ers were initially hesitant to take up wine, according to the council. Sales have grown slowly but steadily since the mid-90s. Table wine sales were up nearly 5% to $6.1 billion in the year ending Oct. 31, according to SymphonyIRI, which does not include Walmart and liquor stores. The test for marketers is to gain loyalty from young drinkers whose tastes are only now emerging. For some wine companies, that means putting members of the generation in charge of their brands. At Treasury Wine Estates in Napa, for instance, 26-year-old Jenna Hudson is a member of team of 20and 30-somethings planning the national launch early next year of Sledgehammer, which is targeting the male millennial market. Marketed as a no-fuss wine, the brand eschews really traditional wine speak like this smells of cherries and berries and that type of thing, Ms. Hudson said. But the wine will also seek to subtly

educate the new generation of wine drinkers, possibly using booklets of wine facts presented in a way thats funny and sarcastic, she said. Experts say millennials, as opposed to other generations, have no fear of asking for wine advice, but a lot of them seek it from Facebook friends and on Twitter-which is leading winemakers to invest in social media. At Jackson Family Wines, maker of Kendall-Jackson, digital projects are led by 27year-old Adam Beaugh, who formerly did web work for Texas Gov. Rick Perry. His latest initiative is called every bottle tells a story and will encourage drinkers to submit wine-drinking stories online via various channels. Wines a social product, Mr. Beaugh said. We need to create an opportunity for people to interact with it a little better without sounding too gimmicky. Some companies have formed special millennial divisions, such as The Wine Group, maker of Franzia, whose Underdog Wine Merchants unit is enjoying big success with Cupcake Vineyards. The brand was the 14th-best-selling wine for the four-week period ending Oct. 31, with sales jumping 250%, according to SymphonyIRI. Still, marketers risk overplaying their hand if they reach out too aggressively to the generation, known for its suspicion of overt selling tactics. For instance, some industry executives are noticing a backlash against trendy, edgier wine labels. If you order a wine thats got a dancing gorilla on it and it tastes bad, then whos stupid? You are, said Don Sebastiani Jr., CEO of Don Sebastiani & Sons, seller of Smoking Loon and other wine brands that make no concerted effort to reach millennials. If you have a great bottle of wine thats priced right in a really classy package, you will be successful. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010

CORRECTION SECTION: Pg. 16 Vol. 81 LENGTH: 42 words

In the custom-published section, The PR Factor 2010, (AA, Nov. 29) there was a mistake in The Digital Sweet Spot: Social Media and Public Relations by Julie Liesse. Anne Tedesco is the VPmarketing of North America at British Airways, not Anne Thompson. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE PRODUCTION A-LIST; Partizan SECTION: Pg. 15 Vol. 81 LENGTH: 278 words

FOUNDED 1991 What sets Partizan apart from the competition is its capacity to produce a reel that always feels contemporary and inspired. Traktor has moved into mainstream big-budget work over the years, but that hasnt put a damper on the directing collectives ability to deliver surprising hits. It continued to put its unique stamp on Virgin Atlantic, for RKCR/Y&R, this time, with a blockbuster James Bond-

inspired extravaganza. The directors ongoing partnership with BBDO, New York, yielded more gems such as GEs Snow Monkey and AT&Ts The Gates-reminiscent spot, Blanket. Traktor also teamed with TBWA/Chiat/Day, New York, on the 70s-inspired action campaign Lemon Drop, starring Ali Larter. Michael Gracey applied his choreographic sensibility to a Hugh Jackman number for Lipton, and a celeb-filled production illustrating the world of Macys. Memorable creatures also populated the Partizan reel, thanks to Antoine Bardou-Jacquet, who brought rodent-flavored hip-hop to Kias This or That, and Nima Nourizadeh, who recreated the Star Wars Cantina for Adidas. Jeremy Konner, the man behind the Drunk History series, broke out a comic blockbuster for Orange, featuring Jack Black in a Gullivers Travels-inspired scenario, and the hilarious yet moving The Majestic Plastic Bag short for Heal the Bay. Nontraditional highlights came from Chris Cairns, who turned his Neurosonics Audiomedical Labs short into a live event and created a 360-degree interactive music video for Doritos U.K., starring Mr. Green, and from Evolution Bureau Creative Director Stephen Goldblatt, whose online serenading unicorn delivered 80s love ballads for Wrigley. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 To catch up, Colgate may ratchet up its ad spending; Analysts predict up to $200M boost as company works to recoup lost share BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 835 words

For years Colgate-Palmolive Co. defied odds as it held or gained share in the U.S. despite being massively outspent by bigger rivals, particularly Procter & Gamble Co. But in a growing number of categories-including toothpaste, deodorant, body wash, dish soap and pet food-Colgate has been losing share at an accelerating pace lately, fueling speculation that it will have to hike marketing spending dramatically next year. Goldman Sachs analyst Andrew Sawyer, in fact, projected in a recent report that Colgate will need to boost ad spending by $150 million to $200 million next year. He advised investors to stay on the sidelines until the company rebases earnings projections to reflect the new spending. So whats changed for Colgate? Two factors are working against it now. First, competitive advertising and promotion spending has jumped in almost all its categories. Even rivals whove been relatively light spenders themselves, such as GlaxoSmithKline and Beiersdorf, have sharply stepped up marketing. And immigration to the U.S. from areas where Colgate had overwhelming market-share leadership, particularly Mexico and the rest of Latin America, has practically ground to a halt in recent years. Globally, Colgate is still holding its own. But with organic sales growth of 3% last quarter, the company has gone from being at or near the top of its competitive set in topline growth for years to falling behind P&G, Unilever, LOral and Reckitt Benckiser, among others. One consultant believes Colgate may need to continue stepped-up spending for at least five years to address years of under-supporting U.S. brands. For years they got better ROI spending in Latin America vs. here, said Sanford C. Bernstein analyst Ali Dibadj. Their operating margins in North America have gotten a lot better [but] they can no longer take for granted [that their brands can hold their ground in the U.S.] without them putting a whole lot more advertising in. A spokeswoman for Colgate said the company doesnt comment on future spending plans and declined to comment. It works with Y&R, New York for general-market creative; Mediaedge:cia for media; Siboney USA for Hispanic; UniWorld for multicultural; 360i and VML on digital and Cohn & Wolfe for public relations. Spending about 11% of sales this year on advertising, Colgate is at least in line with peers globally. But it piles more types of spending-such as sales efforts with dentists-into that accounting line than most others, according to an analysis of CPG advertising reporting practices by Sanford C. Bernstein. And analysts believe the company, which gets less than a third of its sales from the U.S., spends disproportionately overseas. Colgate spent $165 million on U.S. measured media last year, according to Kantar Media, $93 million of it on toothpaste, $12 million on Softsoap and $11 million on Palmolive dish soap. But it was outspent by others in each category, often by several multiples. For the second year in a row, Colgate is on the way to being the No. 3 spender in oral care behind not

only P&G, which has often outspent Colgate two or three to one on Crest in recent years, but also an increasingly aggressive GSK, whose combined spending on Aquafresh and Sensodyne surpassed Colgate last year. While Colgate has largely held on to last years gains in toothbrushes, its been losing share this year in the much-bigger toothpaste category to P&G and GSK. Meanwhile, heavy spending this year by Unilever, P&G and Beiersdorf in body wash has meant numerous brands surpassing Colgates outlay on Softsoap and Irish Spring, causing Colgate to give up gains made last year. And in dish soap, P&G lowered prices and focused on value in ads for Dawn. That, combined with its strategy to extend the Gain brand into the category-moves aimed at chipping away Palmolives lead among Hispanics-seems to have paid off. P&G knocked 3.4 points off Colgates share of dish soap last quarter. Even before that, though, neither Latin America nor the U.S. Hispanic market provided the boost for Colgate they have in the past. (Thats despite Colgate spending $17.7 million last year on Spanishlanguage TV, per Kantar, or about 11% of its measured media.) Colgate gets about as much of its $12 billion in overall annual sales from Latin America as the U.S. Its shares of 80% or more in toothpaste and other categories in Mexico, particularly, have spilled over into this country for more than a decade thanks to rapid immigration and an outsized share among U.S. Hispanics. P&G, however, has stepped up product launches and spending in key Latin American markets this year, especially in Mexico and Brazil. And the flow of immigrants to the U.S. (predominantly Colgate consumers) has slowed during the recession of the past two years. After peaking at 12.6% of the population in 2007, the proportion of foreign-born U.S. residents is expected to decline to 12.2% this year, according to data from the U.S. Census Bureau and University of Southern California. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 100 GLOBAL MARKETERS; The U.S. is home to 5% of the worlds population. How to reach the remaining 95% of consumers? Major marketers are going global. Worlds new No. 3 ad market: China BYLINE: BRADLEY JOHNSON; BJOHNSON@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 512 words

The United States accounts for 5% of the worlds population, 20% of global GDP and 34% of total worldwide advertising, making the U.S. by far the largest ad market. But if you want to reach the remaining 95% of consumers, what do you do? Go global. The Top 100 global advertisers invested 61% of their measured-media budgets outside the U.S. last year, according to Ad Ages Global Marketers, a study covering 96 countries, territories and regions. Regardless of their home base, these multinational marketers advertise where they see opportunity for growth. They are betting big on one country: China. It accounts for 20% of the worlds population, 13% of global GDP and-for now-just 5% of total worldwide advertising. But ad spending is growing fast. Publicis Groupes ZenithOptimedia forecasts that China in 2011 will displace Germany as the worlds third-largest ad market, coming in behind the U.S. and Japan. On the Global 100 roster, 10 firms-including Procter & Gamble Co., LOral, Colgate-Palmolive Co., Coca-Cola Co. and PepsiCo-allocated more than 10% of 2009 measured-media spending to China. One global advertiser stands out in China: Fast-food seller Yum Brands (parent of KFC) last year allocated 27% of measured-media spending to that market and generated 31% of worldwide revenue from mainland China. Among the 46 U.S.-based marketers on the Global 100 roster, 12 firms do more than half their ad spending abroad, largely tracking with where they generate revenue and expect to find growth. Cincinnati-based P&G, the worlds largest advertiser, in 2009 invested two-thirds of measured spending abroad; it generated 62% of revenue outside the U.S. in the year ended June 2010. P&G ranked as the No. 1 advertiser in 18 of the 96 measured markets in Ad Ages study. Unilever, P&Gs European rival and the second-largest global advertiser, last year pumped 86% of

measured spending into non-U.S. markets, which accounted for 84% of revenue. Unilever scored as top advertiser in 20 of the 96 markets in this study. Among the 54 non-U.S. companies on the Global 100 list, six marketers-including four pharma firmsdo more than half of their advertising in the U.S. market. No surprise there; prescription drug advertising is prevalent in the U.S. but not allowed in many other countries. (The other two firms in that group of six were Anheuser-Busch InBev and SABMiller.) For the Global 100, total measured ad spending tumbled 8.7% to $107.2 billion in 2009, only the second decline on record (after 2001s 2.6% drop) since Ad Age launched the annual study in 1987. U.S. spending for these firms fell 7.2%; the non-U.S. portion dropped 9.6%. Spending was flat or down for 80 of the 100 companies. Last years sharp spending decline came amid the global recession; global GDP fell in 2009 for the first time in the post-World War II era. There were relative bright spots last year. Personal-care ad spending slipped just 1.6%, displacing automotive as the worlds largest ad category for the Global 100. Food advertising also fared well, dropping just 1.5%; youve got to eat. LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age December 6, 2010 THE PRODUCTION A-LIST; MJZ SECTION: Pg. 15 Vol. 81 LENGTH: 311 words

FOUNDED 1989 MJZ has a habit of topping lists. This year, the company earned its fourth Palme DOr at Cannes and made its sixth appearance as most-awarded shop in our Creativity Awards Report. But even without the accolades, MJZ deserves a place at the top, thanks to a body of work that made a significant impact not just on the industry, but in the world of pop culture, with some of the years most talked about moments tracing back to its roster. Tom Kuntz kicked off the year with the destined-to-be-classic Old Spice The Man Your Man Could Smell Like, which later went on to win an Emmy, and then carried on with more laughs such as Old Spice Questions (Swan dive!). Craig Gillespie steered Snickers Game, the Super Bowl spot that arguably brought Betty White back into the celebrity limelight. Spike Jonze came out to play, big time, on the robot-themed Im Here short film sponsored by Absolut and created out of TBWA/Chiat/Day, New York-an effort whose ambitious marketing push took cues from the directors promotions for Where the Wild Things Are-and then returned to his music-video roots with a curious pair of clips for Arcade Fire and LCD Soundsystem. Directing team Blue Source brought its quirky touches to Pereira & ODells short film, Lego Click, while Dante Ariola was as prolific as he was diverse, with an output that ranged from artsy black-and-white vignettes for Dickies (Goodby) to action comedy on Bridgestones Whale of a Tale (The Richards Group) and the touchy feely Never Walk Alone spot for P&G (Wieden, Portland). Heavy hitter Rupert Sanders was all about the action this year. He drew Kobe Bryant and Jimmy Kimmel into a real-world game of Call of Duty (TBWA/Chiat/Day), shot movie-meets-real-world moments for DirecTV (Grey, New York) and then slowed things down for a round of Nascar/ESPN spots (Wieden, New York). LOAD-DATE: December 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010

No rest for Audi on seventh day; Automaker opts for big ad blitzes on Sundays BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 598 words

In the heyday of Seinfeld, Friends and Survivor, Thursday was the best night to reach mass audiences. But Sunday has snuck up as the new mass-reach day for live awards shows and major sporting events, so much so that one major marketer, Audi of America, is aligning its entire 2011 TV marketing calendar around the seventh day. As part of its self-dubbed Sunday Media Strategy, Audi will concentrate nearly 70% of its media budget for its A8 model on TV during 2011 with its ongoing sponsorship of the National Football League, its upcoming buy on Super XLV and an increased investment in Sunday-morning news programming (NBCs Meet The Press, CBS Sunday Morning) as well as Sunday prime-time programming (ABCs Brothers & Sisters, CBS Amazing Race). Scott Keogh, Audis chief marketing officer, said Nielsen research showed that the automaker would be able to reach 84% of its target affluent audience on just a total-day Sunday media schedule vs. 88% reach across a comparable, incrementally expensive five-day weekly schedule. We analyzed where Americans consume media and asked, Where does luxury pervade? And it turned out we could get as much from our media plan on Sundays vs. Monday to Friday, he said, speaking to Ad Age from the Los Angeles Auto Show. (Audi will also continue advertising during NCAA football, which typically airs on Saturday.) This will allow us to stretch our launches and reach a higher percentage of our target audience. Despite being outspent as much as four-fold by upscale competitors like BMW, Mr. Keogh said Audi will finish 2010 with record sales (over 100,00 vehicles sold), record manufacturer-suggested retail prices and record media spending (it is expected to top the $81 million it shelled out on measured media in 2009, according to Kantar Media). Heading into 2011, Mr. Keogh and his agency partners at WPPs MediaCom are looking to boost the Audi media budget by as much as 20% with a heavy reliance on traditional media and big events to do the heavy lifting. Audis embrace of TV is on trend with much of the industry, which has been looking to DVR-proof, big-event programming to get a big bang for its buck. In the case of Audi, that means a return to the biggest event of all-the Super Bowl-which is, of course on a Sunday. Audi has bought a national spot during the first pod of the game airing Feb. 6 on Fox. Mr. Keogh is mum on creative strategy or vehicle plans for Audis fourth Super Bowl (and third time in the opening pod), but said the spot will be produced by longtime agency Venables Bell & Partners. He noted that the Big Game has done more to help the company position itself as a challenger brand

than any other media vehicle, citing research that showed Audis national consideration level among prospective auto buyers before last years Super Bowl buy was at 40%, but jumped to 58% after the game. We had 1,300 to 1,400 more people in our showrooms than we did before the Super Bowl, he said. Just like Americans dont go to unknown restaurants or country clubs, they go to known brands. One investment thats gotten Audi a lot of attention that is far less measurable is its investment in Marvel Entertainments Iron Man movies, with the R8 Spyder vehicle receiving a co-starring role in this summers Iron Man 2. Weve seen awareness spiking, and our dealers did 160 screenings with over 300 to 400 people at each screening, Mr. Keogh said. If you look at Iron Man, he really embodies the spirit of our brand, and that association is just as important to us as anything in our media plan. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 MEET THE UN-MOGUL REINVENTING TV; Steve Burke will decide what you see and how youll see it-and change the ad model in the process BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1670 words

At Manhattans Eleven Madison Park, customers can dine on guinea fowl and Loup de mer. When 20 or so of the ad industrys top media experts convened there last April, however, all they really wanted was a taste of the future. In a private meeting, Irwin Gotlieb, the global CEO of WPPs GroupM, Bill Koenigsberg, presidentCEO of independent Horizon Media, and Rob Norman, chief executive of GroupMs North American operations, were among the executives who got their first good look at Chief Operating Officer Stephen Burke, the senior Comcast Corp. executive who at the time was months away from officially being named the incoming leader at the mammoth NBC Universal. Accompanying Mr. Burke was David Cassaro, president of ad sales for Comcasts cable networks. But it was Mr. Burke who dominated the evening. Steve led the conversation, said one executive present at the event. Its the first of many conversations Mr. Burke, 52, will lead over the next several months-and perhaps the least among them will be about whether 30 Rock belongs at 10 p.m. on Thursdays. This new media boss is in a unique position not only to influence what America watches, but to also shape the way in which marketers advertise to the nation by harnessing the one-to-one addressable technology of cable and melding it with the mass reach and programming might of NBC Universal. Its a highprofile task for a person who has avoided the media-industry spotlight in the past. But Mr. Burkes pedigree and management style point to an executive who thrives on intense, albeit quiet, competition. The stimulus for him is more about the work than all of the other stuff that comes with it, said William Burke, his youngest brother. Mr. Burke is the executive who once said he liked his perch at Philadelphia-based Comcast in part because he and his family have been able to avoid a lot of media attention, and we like that, as he told the Philadelphia Inquirer in 2004. We love the business, but wed just as soon drive our kids to school and have a good life. Comcast said Mr. Burke would not comment for this story. Yet soon he could find himself tangled up in any number of sticky situations. Mr. Burke has had oversight of TV stations and TV networks-Comcast owns E! and Versus, among others-but hes never had to be the guy explaining why Keith Olbermann gets suspended for making political contributions or why a network moves Conan OBrien into the Tonight show only to send him packing for a show that could send some of NBCs ad revenue over to Time Warners TBS. Mr. Burkes rise has been a quiet but noticeable one. His first job after graduating Harvard Business School was devising product ideas for Grape-Nuts, then owned by General Foods in White Plains, N.Y., not far from his childhood stomping grounds in and around Rye, N.Y. In the years since, hes developed a vast range of expertise that makes him a formidable operator. He helped build a massive video-on-demand system at Comcast, grew a huge telecommunicationsprovider business and developed Comcasts broadband services. He has a history of creating business units from scratch and working with the content-distribution technology that will be so much more a part of TVs future. To understand his style, one must first understand Mr. Burkes family. Hes the eldest of four

children, and more or less grew up in business: His uncle, James Burke, was chairman at Johnson & Johnson during the companys infamous early-1980s Tylenol scare. His father, Dan Burke, was one of two executives-the other was Tom Murphy-who ran Capital Cities, the TV-station operator that made history in 1985 when it purchased ABC for around $3.5 billion. In the media business, the companys acumen for controlling costs and allowing executives to do their jobs-so long as their operations thrived-is legendary. Tom and Dan were real partners, recalled Robert Callahan, a longtime Capital Cities executive who would go on to work for and then succeed Steve Burke as head of ABCs TV stations after Walt Disney bought the company in 1996. You would almost use the two in the same sentence for anything-a line extension, an acquisition, a budget review. Its always Tom and Dan. The case might be made that Mr. Burke enjoys a similar relationship with Brian Roberts, Comcasts chairman and chief executive. My dad and Tom Murphy operated very similarly to how Mr. Roberts and Mr. Burke run things, said William Burke. Steve Burke has adopted other qualities from his father, say those who know him. I did not want to miss any of my numbers, said Mr. Callahan of the elder Mr. Burke, because he was fierce, but very, very fair. So when the younger Mr. Burke plays, he wants to win-whether in business or as a marathon runner, a pursuit that has taken some of his time over the years. Steve Burke can be very competitive on the playing field, said Nick Davatzes, CEO Emeritus of A&E Television Networks, who worked with Mr. Burke on the organizations board of directors. People who work for him can expect to be under a fair amount of pressure to execute a plan that will have a great deal of thought behind it. At Walt Disney, which he joined in 1986, he helped establish and run Disney Stores. He was subsequently dispatched to rework the Euro Disney theme park; integrate ABC under the Disney umbrella; and supervise ABCs TV and radio stations and syndication operations. He surprised many when he left in 1998 for the spot of chief operating officer at family-run Comcast, viewed then as a simple purveyor of cable TV. In reality, said his brother, Steve Burke moved to a smaller place that was trying to grow and let him gain broader operating experience. He now has the chance to put it into full practice. Already, Mr. Burke has eliminated several top layers of management at NBC Universal, which is parting with Jeff Zucker as well as Jeff Gaspin, a veteran executive who was seeing broadcast and cable entertainment operations. In their place: no successors, but a coterie of direct reports with specific portfolios such as sports, NBC broadcast entertainment, and so on. The expectation is is of a more hands-on operation with a flatter executive structure. Rather than try to micromanage, Mr. Burke is likely to take a broader view, suggested Mr. Callahan. Hes a creative executive, but at the end of the day, Steve is just a really astute operator. Hes smart enough to know you really have to pick creative people. He would very much pick his executives, whether its sales or creative execution, and let them run, he said. NBCUs new operating chiefs will likely have room to roam, but woe unto them if their divisions

come up short or if they place more emphasis on generating personal publicity and internal politics over executing a corporate plan. Hell be in this for the long term as opposed to any short-term stunts, predicted Steve Bornstein, chief executive of the NFL Network, who worked with Mr. Burke at Disney when Mr. Bornstein served as chief executive of ESPN. First on the plate for NBC Universal CEO will be fixing long-running problems that have sapped the strength of flagship NBC. Anticipation is running high that Comcast will try to use its Versus cable channel, NBCs Olympics broadcasts and NBC Sports control of Sunday Night Football to mount a challenge to ESPN. And Mr. Burke will want to continue the momentum enjoyed by cable outlets such as Bravo, MSNBC and SyFy. But the end goal will be to try and hitch Comcasts massive cable footprint and the set-top box technology upon which it relies to hours of NBCU content to drive new TV-viewer behavior, such as responding to TV commercials with a remote and pushing the evolution of so-called addressable advertising. These new formats could ultimately make TV advertising more valuable even as TV watching becomes a more diffuse activity. Its this mix of pipes, data and content, said one senior media executive familiar with Mr. Burke, or the ability to devise entertainment as well as the means by which people see it, that might make the $37 billion-plus combination of Comcast and NBCU more compelling to Procter & Gamble or Unilever. Indeed, Comcast has the opportunity to carve a new media landscape. Comcast didnt acquire NBC Universal to move Steve Burke to run the network, said Group Ms Mr. Gotlieb. Instead, he suggested, Comcast purchased the company because they saw significant synergies going forward that include marrying the companys ability to reach consumer homes with the content that draws consumers to the TV set, computer screen and digital device in the first place. The new entity would also help Comcast reduce its overwhelming reliance on revenue from cable, broadband and video-services subscriptions-a whopping estimated $33.9 billion in 2009, compared to around just $1.5 billion from programming-at a time when more consumers appear interested in cable cord cutting. Owning and controlling content could be the smart strategy as consumers stop caring about which video-distribution vehicle brings them their favorite episode of Desperate Housewives. Mr. Burke doesnt have all the time in the world. Now that Comcast has wrapped its wires around NBC Universal, he will have to make certain those cables continue to have consumers at the other end. Hell likely do it by trying to develop better content that attracts broader audiences: more sports, TV shows that appeal to broader swaths of the public and fewer quirky programs aimed at upscale urbanites. The trouble? Trying to attract the American consumer en masse is never a sure bet, and the trick one uses to do it in the first place doesnt always work the next time its put into practice. Mr. Burke dazzled the ad intelligentsia at a private party, but now he has to entertain the broader population-and entice them to change their behavior-all in a short period of time. You can expect him to lead the conversation. This time, however, hell be doing it in your living room.

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Advertising Age November 29, 2010 If you must know, Im @ Fed Up w/200 others. Will check back in when this stuff works. BYLINE: Kunur Patel; kpatel@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 836 words

Thanks to the new school of mobile apps and their copycats, there are at least three separate apps that will let you check in to virtually any person, place or thing that you come across. Reading just from the list of apps Ad Age has written about, you can check in to restaurants, the people you eat with, TV shows, processed chicken at the grocery store, soda cans, books and, most recently, websites. Apparently my web surfing is so interesting youll want to follow along. As a self-admitted checkin cheerleader up until this point, I have to say, Ive hit the wall. Ive had enough. Pretty much every other hour, a new checkin app is born or another brand jumps on the bandwagon. Weve seen programs from RadioShack, Macys, PepsiCo and a slew of retailers for Facebook Deals. Each app and brand has attempted different takes, of course, from games and scavenger hunts to discounts and loyalty programs. Im impressed the checkin category has been able to attract such tony marketers, but Im still lost. Arent their test budgets a bit early for this frenzy? Wont marketers get tired and abandon the checkin once they realize there are so few people actually using this stuff

(see chart, pg. 3)? My skepticism did not go untested. I vowed to check in to everything I could this week. And I do mean everything. I started off strong: I remembered to check in at all stops on my way to date night: the office before I left, Grand Central, the bar before dinner, the restaurant. I even Instagrammed a snapshot of the Grandmas-house dcor at the Russian place Mari Vanna where we had a drink. It was kinda fun. Things got a little trickier later in the week. Its not all date night and bars with lots of tchotchkes. Other than Foursquare-my primary tool to brag about cool places I go in New York (sad, but true)-I usually forgot. At home, I thought about checking in to Season 3 of Lost. I am firmly in the I-loveLost,-thank-God-for-Netflix camp these days, but I fell asleep on the couch before I found my phone. I tried to check in to my Stieg Larsson novel during the few stops my train is above ground in the morning, but it was hard enough to juggle a book, coffee and purse on the rush-hour subway. Passing a grocery store, I wanted to download Checkpoints, the checkin app for that locale, but couldnt because I havent upgraded my iPhone to iOS 4 yet. I guess that app is fine with constraining Apple devices audience of 100 million to only those users with the latest software. I took a field trip to CVS to try out the new Altoids and Ben & Jerrys programs on StickyBits, the checkin to products app. I went to the freezer case, found a pint of Cherry Garcia and scanned away. It worked on the second try but nothing happened. I continued on to checkout for the Altoids, and was met by a suspecting Can I help you? from the sales clerk. I told her I was just testing something. See? I said, showing her my iPhone. Its an app. Its marketing. We dont allow customers to take pictures of merchandise, she said, not smiling. Oh. So I left after only one scan, before I could actually get it to work. After that, it was very clear that, even in New York, the apparent testing ground for this newfangled stuff, were so far from a checkin to everything world. It was too foreign for even my early-ish adopter habits. With my slow 3G, I wasted time. Its hard to do everyday things like buy soap and think about being tech-forward. I dont doubt that consumer behavior is getting there. My tweet stream, Facebook feed and the U.S. governments worry that checkins are going to compromise war secrets are evidence enough that people are getting into the services, especially when it comes to restaurants, airports and bars. It just seems like were taking things a little too far without enough infrastructure or everyday benefit. I later caught up with StickyBits cofounder Seth Goldstein to tell him about my experiment. He clarified that the Ben & Jerrys promotion was only for Fair Trade pints of ice cream. But without signs in the store, I didnt know that. He acknowledged that promotion is an important part of these still extremely new programs. The Scion car brand is seeding Stickybits codes on its traditionalmedia ads, for one. And to the points I made above, he reminded me that technology will catch up and checkins will evolve and get easier and more automatic. Rather than waiting for my 3G to load an

app, a list of locations and a button to click, my phone will be able to sense where I am, or what jar of peanut butter Im holding in the grocery aisle. (Well save privacy concerns for another post.) While I might not have the patience to look up what pint of Ben & Jerrys to scan for a chance to win a free T-shirt before I go to a store, fanatics will. My New York bar is someone elses packaged good. Everybody is passionate about something, he said. There are people that are passionate about Oreos; there are other people that dont give a shit. I can buy that. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 When it comes to Facebook, relevance may be redefined; To create conversation, simple, random and banal may be a brands best bets BYLINE: MATT CREAMER SECTION: Pg. 3 Vol. 81 LENGTH: 1128 words

May 4, as you may or may not know, is National Star Wars Day, a fact recognized by no less august bodies than the Los Angeles City Council and the Church of Jediism, a George Lucas-inspired denomination that counts itself as the fourth-largest church in the United Kingdom. This year the

occasion was also marked by the folks at BlackBerry, who updated their corporate Twitter account to read May the 4th Be With You. What does BlackBerry have to do with Star Wars? Not much, other than selling an app that turns your Torch or Tour into a faux light saber. But that didnt stop the tweet from being one of the companys most effective-a phenomenon Brian Wallace, VP-global digital at BlackBerry parent Research In Motion, had to try to explain to colleagues. I remember getting emails from my peers asking me why we would post such a thing and was this why we created our Twitter channel, he wrote in an email interview. My response was that this post reached over 150,000 people, 98% of the posts were positive, most tweets made a positive association with our brand, and it drove a 15% increase in our followers. Now whats the value of all that to our company? For the cost of $0.00 we have increased positive brand sentiment, generated a measurable earned-media value and now have 20,000+ more people who I can share productrelated information to. Not a bad ROI. Marketing executives all over the world are having experiences not dissimilar to Mr. Wallaces. Relevance has long been a central tenet of effective advertising, but the rise of Facebook and Twitter are forcing a redefinition of the term. As it turns out, many people in social networks dont want to talk about your product, they just want to talk. Weve long known that inserting brands into socialmedia channels requires a conversational touch, but many are surprised by just how conversational. Theres increasing evidence that the most-effective kinds of marketing communications on these websites are simple, random, even banal statements or questions driven by the calendar or the whim of a writer that may not have anything to do with the brand in question. What are you doing this weekend? What is your ideal vacation? Whats your favorite movie or book? On Veterans Day, BlackBerry posted a simple holiday-related message that received nearly 8,000 likes and more than 500 comments, many of which consisted of veterans thanking the brand and posting their PINs, allowing others to contact them via BlackBerry messenger. Reaction to that update far outpaced other recent ones concerned with products or tips. Its never been particularly easy or cheap to get 8,000 people to do anything for a brand, but Twitter and Facebook may be changing that. Were so used to advertising and marketing being highly reviewed, high-production-quality creative on which you spend a lot of money and time, and theres a whole flow built on creating and approving it, said Michael Lazerow, CEO of Buddy Media. All the sudden, a very simple question, like Whats your favorite movie? is engaging your customers and thats your creative. People say Whoa. With more than 500 million people on Facebook and Twitter closing in on 200 million users, stream marketing, as Mr. Lazerow describes it, will be crucial. What goes into those ceaseless rivers, alongside updates and content from friends, said Mr. Lazerow, is some of the most powerful and important creative that were going to be dealing with. On the part of the writers, that requires a different ability thats far from whats been traditionally needed in marketing. Said Mr. Wallace, You need to be skilled at understanding how a seemingly random-type message can-in the endcontribute to the company brand and/or behavioral objectives.

Mr. Lazerow, whose company makes tools that help brands manage their Facebook presences, estimates that roughly two-thirds of a companys Facebook content should be conversational in nature. The exact ratio, however, depends on what its trying to achieve. While theres no across-theboard data on how conversational posts compare to promotional ones, he said the evidence is clear. He pointed me to a few different examples on Facebook where those conversational posts produce eight to 12 times the response of more brand-oriented ones. Its not always about your brand, he said. Its about why people are there to connect with other people, [gettng them] to connect with you because they like you. The numbers speak for themselves. Oreo is masterful in handling that balance between promotion and conversation. Consider the responses from several recent questions: Ever try dunking an Oreo cookie with a fork or anything else? 8,200 likes and 2,300 comments Pick a flavor, any flavor! If you could create a new Oreo cream flavor, what would it be? 7,100 likes, 12,500 comments Pop quiz: Twist, lick, then 6,500 likes, 6,200 comments In case youre wondering, these numbers arent far off what posts on Lady Gagas page might do. Not bad for a 98-year-old cookie brand. Oreos Facebook fan base has grown by 3 million since late October, giving it over 15 million fans. Its one of three brands, along with Coke and Starbucks, to penetrate a top 25 dominated by celebrities, entertainment properties and Texas Hold Em Poker. The Kraft cookies Facebook presence originates from a department at the digital agency 360i, which, with a dozen writers who work off pre-planned editorial calendar, is as organized as any publication and is now bigger than many. That department reaches more than 30 million fans across a long list of brands, including Coca-Cola, JC Penney, Lysol and Jell-O. Those writers typically have experience talking to people on behalf of brands, often as community managers in non-social network settings. When you have ad agencies or copywriters writing your Facebook copy, it ends up being promotional in nature and if youre not inspiring feedback no ones going to care, said Sarah Hofstetter, senior VP-emerging media and brand strategy at 360i. You can only talk about your product so much. Balance that with youre not trying to be their best friend, youre trying to achieve some marketing objective. For Oreo, as Ms. Hofstetter explains it, those objectives are both fanbase growth and engagement on the page. For other clients, its a whole different thing. Bravo, for instance, is interested in clicks and views of the videos of its shows. BlackBerrys Mr. Wallace said that success is about getting likes, or shares, or comments. Or maybe the person will click on an ad or post a photo or video he or she took with a BlackBerry. In the end its behavior-based, said Mr. Wallace. A Facebook fan has no value. Getting a Facebook fan to do something does. LOAD-DATE: December 2, 2010

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Advertising Age November 29, 2010 Why search giant Google seems to favor small shops; Though tech titan insists size is irrelevant, the newest shop in the plex is little-known agency Muhtayzik/Hoffer BYLINE: RUPAL PARKEH; RPARKEH@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 800 words

With a brain trust of thousands, a bank account of billions and an insatiable appetite for acquisition, the Google beast is growing more gargantuan by the day. But for a company thats got plexes instead of offices and has spent years wooing business from adlands biggest players, when it comes to the marketing of its own products and services, Google thinks tiny. For years, the Mountain View, Calif.-based company wasnt much of what Madison Avenue would call a client. It occasionally tapped small ad agencies, like Naked Communications and the nowdefunct Toy, but wasnt one to ask for much outside help. While most of its advertising today is birthed in the Google Creative Lab, led by former agency executives Andy Berndt and Robert Wong, the company readily admits its leaning more than ever on outside agencies. Since late 2009, its handed a ton of promotional work for the Chrome browser to Bartle Bogle Hegarty, but is also entrusting marketing projects to many smaller outfits, like Johannes Leonardo and Big Spaceship out of New York and Cutwater, Goodness Mfg. and Muhtayzik/Hoffer on the West Coast.

The last, a San Francisco-based shop with just 20 staffers that represents one of the newest additions to Googles agency roster, was unknown-even in ad circles-until September when it released a video to promote Google Mobile and location search for GPS-enabled devices. Dubbed extremely bizarre by Mashable, the online ad featured a man uttering the word pizza over and over again. Googles strategy of cherrypicking a variety of small agencies for work contrasts with the strategy of its competitors in search. Microsofts Bing and Yahoo spend millions in measured-media dollars a year with established agencies like WPPs JWT and Omnicom Group-owned Goodby Silverstein & Partners, respectively. Googles overall measured media spending is relatively low, with the bulk of its advertising appearing on Googles own properties. But it is rising. Though the company spent a total of $11 million on U.S. measured media in 2009, in the first nine months of 2010 that number more than doubled to $26 million, according to Kantar Media. Google the marketer would rather not be pigeonholed as having a fetish for small shops. That could be because after years of trying to convince Madison Avenue that it is their friend, Google the media company has made serious headway, striking up strategic relationships with agencies and holding companies such as Publicis Group and Omnicom Media Group. Googles agency team-which is largely focused on befriending and working on ad solutions with the ad community-has grown to 100strong under Torrence Boone, former CEO of Enfatico, the agency built under WPP to service Dell. We work with agencies of all sizes, Mr. Wong, the executive creative director of Google Creative Lab, told Ad Age. What matters is that the people, the work and how the work gets done is a good fit with our unique Google culture. And as we do more work, were continuing to look for more agencies to help. While the agencies contacted for this piece declined to comment because of client confidentiality, a few ad execs familiar with the Google account revealed what the search giant is like on the client side of the table. In short? Demanding but very collaborative, and lets just say not the biggest tipper. They dont want agency-client relationships in any traditional sense, said one executive familiar with Google. For one thing, its briefing process is different; agencies dont work in a creative vacuum and then return to present a dog and pony show of creative ideas. Rather, sometimes agencies spend a few days there and its really collaborative, this person said. Its unlike other clients because of their capabilities internally. Agencies who work with Google these days are also tasked with behind-the-scenes work, and might have the chance to help the company develop products and shape platforms and user experiences. And for that reason, too, a smaller shop may make sense. For secretive Google, the fewer folks privy to the next big project its plotting, the better. Despite the search giants size, it moves like a startup-so smaller, more nimble partners tend to have an easier time keeping up. And with the notable exception of that Super Bowl spot last year (bought with the help of Horizon Media, a smaller, indie shop), Google doesnt spend much on advertising, so a bigger shop isnt likely to devote the same resources a smaller one might. Much of the stuff Google has been selling so far is essentially free to consumers, and the most

important component of any creative advertising, said another executive, is about making [Googles products] accessible and easy to understand you dont have to spend a lot of money on that. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 JUST HOW HAPPY DOES THE HAPPY MEAL MAKE MCDONALDS?; Even at under 10% of sales, the iconic kids line is bigger than Panera, IHOP BYLINE: MAUREEN MORRISON; MCMORRISON@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 575 words

Happy meals have taken a bit of a beating lately. First there was that six-month-old Happy Meal hamburger that didnt grow mold or decompose, and then San Francisco tried to ban toy inclusion in kids meals. With the iconic product in the critics crosshairs, we wondered, just how valuable is the Happy Meal to McDonalds? The company is rather guarded about specifics, but a spokeswoman offered that Happy Meal sales account for less than 10% of McDonalds U.S. business. Given McDonalds massive size-it notched about $30.9 billion in U.S. systemwide sales in 2009, according to Ad Ages DataCenter-thats nothing to sneeze at. If Happy Meals account for less than 10% of McDonalds total sales [that still] represents a significant portion of their business, said Darren Tristano, exec VP at Technomic. To put it in perspective, that would be more than Panera Bread, IHOP or Dairy Queen chains sold

individually in the U.S. in 2009. Sales aside, the value of the Happy Meal, which has been on the McDonalds menu nationally since 1979, is in the brand itself and the role it plays in getting families to chose McDonalds over a rival chain. Its hard to have a clown as your mascot and not have a Happy Meal. Its something McDonalds is known for. Regardless of sales, its still a family dining restaurant and the Happy Meal contributes to that. It makes it fun for kids, said Eric Giandelone, director-food service research at Mintel. Its one of those products thats so associated with the brand-it may be more associated with McDonalds than the Big Mac. Its iconic. In Technomics 2009 Kids and Moms Consumer Trend Report, kids overwhelmingly chose McDonalds as their favorite fast-food restaurant, with 37% of kids surveyed choosing it as their favorite. The second-most chosen was Subway, with 10% of kids claiming it as a favorite. About 8% of kids surveyed said Burger King was their favorite fast-food restaurant. More important is why they are choosing it. According to Technomics report, the influence of a toy is much stronger for kids than parents in a kids meal-purchasing decision. About 87% of six-and seven-year-old kids and 80% of kids ages eight and nine said they enjoyed getting a toy with their kids meals, according to the report. The Happy Meal has become a staple in the American family lifestyle, said Mr. Tristano. Richard Adams, a franchise consultant who works primarily with McDonalds franchisees, said he doesnt see the restrictions on Happy Meals becoming a national issue, but if they did, McDonalds would lose sales not only on Happy Meals, but on the sales of the meals from those parents. And, in fact, the company has been less reliant on the Happy Meal than in years past, he said. Happy Meals have seen some decline in recent years as a percentage of sales. Thats because the menu is so much broader than it was. McDonalds has been upping its U.S. measured media spending on Happy Meal, according to WPPs Kantar Media. In the first half of 2010, the fast feeder has spent $45.6 million on the product. In 2009, it spent $69.5 million, compared with $65.3 million in 2008. But thats still a comparatively small slice of its budget. McDonalds total U.S. ad spending for 2009 was $873.3 million, compared with $814.2 million in 2008. In 2009 and 2008, Happy Meal spending accounted for about 8% of all U.S. measured-media spending. For the first half of 2010, it accounted for 10%. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; People SECTION: Pg. 10 Vol. 81 LENGTH: 185 words

PRINT-TO-DIGITAL/ BEST CONSUMER MAGAZINE TWITTER STRATEGY twitter.com/peoplemag In addition to keeping them abreast of the Longoria-Parker troubles, @PeopleMag regularly retweets, responds to and Follow Fridays its 2.2 million Twitter followers. Such efforts have rewarded People.com, as well as PeopleStyleWatch.com and PeoplePets.com, with online visitors; their respective Twitter accounts (@StyleWatchMag has 531,000 followers; @PeoplePets has just shy of 1 million) are now top 10 traffic drivers to the sites. But People Digital doesnt just use Twitter for driving traffic; its also driving conversation. The day Golden Girl Rue McClanahan died, the editors behind Peoples Twitter feed asked their followers to try to make #ThankYouForBeingAFriend a trending topic. Hours later, it was that-and a fitting tribute to the actresss life. People has made its sites more Twitter friendly with Tweet This buttons and a Tweet Ticker module that aggregates celebrity Twitter musings, and the group has turned its Twitter presence into an ad sales tool, selling sponsored tweets to the likes of GMC and Lifetime. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Wall Street Journal Digital Network SECTION: Pg. 12 Vol. 81 LENGTH: 152 words

PRINT-TO-DIGITAL/ BEST BUSINESS NEWS ONLINE VIDEO NETWORK wsj.com/video The Wall Street Journal Digital Network has been quietly building its video operations into a webbroadcasting powerhouse, with more than 700 new episodes of recurring shows and one-off reports produced per month. Across five sites-WSJ.com, MarketWatch.com, Barrons.com, SmartMoney.com and AllThingsD.com-live and on-demand programming bring breaking news and analysis to a global audience of business-news consumers. The network has been rolling out compelling, smartly packaged series (over the past year: News Hub, Opinion Journal Live, Digits, Media Matters, Markets Hub, The Big Interview and Campaign Journal) at breakneck pace using a worldwide network of reporters and videographers. In essence, an organization known for its inky flagship newspaper has become one of the most nimble webbroadcasting journalistic enterprises anywhere. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; (RED): The Lazarus Effect iPad app SECTION: Pg. 33 Vol. 81 LENGTH: 160 words

MARKETER-AS-MEDIA SPOTLIGHT/BEST IPAD APP FOR THE GREATER GOOD Available on iTunes The high-profile Red effort, which has already recruited countless celebrities and marketers on its way to raising $150 million for HIV and AIDS programs in Africa, hasnt stopped trying to find new audiences in unconventional ways. Red was the first, as far as we can tell, to include a half-hour film in an iPad app. Its app, which is free, includes the documentary The Lazarus Effect, which demonstrates the effect of antiretroviral medication on HIV-positive people in Zambia. But the app also includes strikingly presented photography, portraits, information on Red, suggestions to get involved and links out to sites where users can donate or buy Red products. Its neither a quick download nor a small one. But the iPad hasnt typically called good works to mind yet either. Reds app reminds you that new technology and communications are ready to go where you push them. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; The Martha Stewart Weddings Luxury Wedding Expo SECTION: Pg. 34 Vol. 81 LENGTH: 107 words

PRINT-TO-DIGITAL/ BEST SPECIAL-INTEREST MAGAZINE VIRTUAL EVENT marthastewartweddings.com In what had to be one of the more beautiful virtual trade shows weve seen, Martha Stewarts Luxury Wedding Expo, held November 2009 to February 2010, drew 13,200 registrants and 29 ad partners. The brides-to-be (more than 9,200 of them) perused the exhibit halls boutiques, and more than 11,000 registrants tuned into live events starring Martha Stewart Weddings editors and bridal gurus. Even better, for MSLOs weddings division, the event let it tap into entirely new budgets-ones typically reserved not for print or digital advertising but for events. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

November 29, 2010 2010 MEDIA VANGUARD AWARDS; Target Video Game Advisor SECTION: Pg. 35 Vol. 81 LENGTH: 195 words

MARKETER-AS-MEDIA SPOTLIGHT/BEST NEW IN-STORE INTERACTIVE SHOPPING GUIDE At most Target stores across the U.S. Moms make the majority of household purchasing decisions, including video-game buys. After conducting research that showed gaming remains a blind spot for many moms-theyre often unsure about the differences between consoles and the age-appropriateness of games-Target rolled out touchscreen kiosks in 1,000 of its stores this year, working with interactive agency Schematic to develop a tool for parents to educate themselves about Targets vast selection of gaming products. The 40-inch high-def screen includes a filtering mechanism based on age or genre, real-time inventory info, customer reviews, and game trailers, and even lets users page a Target employee for help. The UI is simple enough to mesh nicely with Targets minimalist aesthetic, but sophisticated enough to leave customers feeling newly armed with product knowledge even after spending just a minute using the Advisor. And on the back-end, Target gets valuable data that track the correlation between terminal use and sales, basket size, return rate and time savings for Target floor staff. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

November 29, 2010 2010 MEDIA VANGUARD AWARDS; ABC News app for iPad SECTION: Pg. 4 Vol. 81 LENGTH: 119 words

BROADCAST-TO-DIGITAL/ BEST TV BROADCASTER NEWS IPAD APP Available on iTunes The ABC News iPad app opens up with a neat-o user interface: a globe that you can spin to select stories, or shake to randomize content. Itd be easy to dismiss that globe as mere gimmickry if it didnt actually make getting the ABC News content you want-by topic or favorite news show-easy and intuitive. Sharing (via Twitter, Facebook, email) is baked right in, as is a My Favorites feature that lets you save stories for offline viewing. Half a million iPad users have already downloaded the ABC News iPad app, and we suspect a lot of them, upon first using it, said something along the lines of, OK, that is really cool. (We sure did.) LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Hollywood Star Walk iPhone app SECTION: Pg. 6 Vol. 81

LENGTH: 136 words

PRINT-TO-DIGITAL/ BEST LOCATION-SPECIFIC IPHONE APP Available on iTunes If youve ever tried to navigate the seemingly endless terrain of the Hollywood Walk of Fame, youd probably be willing to pay a lot more for this iPhone app than what it costs (a mere 99 cents). Its way better than any guidebook, because its GPS-and Google Maps-enabled and has an augmented reality viewfinder that overlays nearby stars on your phones screen as you hold it up. And its way smarter, because it was created by the staff of The Los Angeles Times, who dove deep into their archives to unearth photos and fascinating biographical details about the stars. The app works not only as a great standalone product and a service to consumers, but as a sort of ad for The Los Angeles Times as the ultimate local authority on Hollywood lore. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Gourmet Live SECTION: Pg. 8 Vol. 81 LENGTH: 126 words

PRINT-TO-DIGITAL/ BEST BRAND REVIVAL USING TECHNOLOGY Available via iTunes TV shows may go off the air and magazines may go out of print, but the brands behind them dont necessarily die. And thats why we like what Cond Nast has done with Gourmet, using a free lifestyle iPad app to revive the much-loved foodie icon in a lower-cost, direct-to-consumer way. Issues incorporate classic Gourmet stories and recipes, plus some new blog content and smart tabletpublishing ideas, such as social gameplay mechanics to provoke readership and participation, and clever sharing features (note to other iPad magazine developers: the iPad is connected to the web). It topped the iTunes list of free lifestyle iPad apps for 10 straight days after its Sept. 23 launch. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Martha Stewart SECTION: Pg. 4 Vol. 81 LENGTH: 438 words

THE MVA LIFETIME ACHIEVEMENT AWARD WINNER The first annual MVAs-created to honor transformative, next-generation media-drew hundreds of entries from major media companies (broadcasters, newspapers, magazines and digital natives) and

marketers (as part of our special Marketer-as-Media Spotlight) during the eight-week entry period. We were dazzled by the wide range of innovative submissions, and were delighted to share the winners with you here. The winners will also be honored at the Media Vanguard Awards ceremony, part of the ME*: Media Evolved Conference Nov. 30 in New York. When the MVA judges and the Advertising Age editorial staff discussed whom we might honor with a Media Vanguard Lifetime Achievement Award, one person was the immediate and unanimous choice: Martha Stewart. From the start of her extraordinary career in media, Martha Stewart has embodied precisely the sort of multimedia vision that the MVAs were created to recognize. She was never just a print person or a broadcast person or a digital person. An integrated, multimedia approach has always been in the DNA of her trendsetting company. Early on, even before founding her own company, she was a master of multimedia. Her enormously successful series of books, starting with Entertaining-the biggest cookbook hit since Julia Childvaulted her into the public eye, making her an inspiration to millions. She became a trusted expert on food and home, and a regular in magazines and newspapers and on TV (most notably as a correspondent for NBCs Today). The public couldnt get enough of her, and Time Warner came calling, making her chairman of Martha Stewart Living Enterprises. Martha Stewart Living, the glossy she launched in 1990, became the National Magazine Awardwinning flagship of what was conceived from the start to be a cross-media content juggernaut. A broadcast empire followed with the debut of her own Emmy Award-winning TV show in 1993. And then she made history when she struck off on her own in 1997, becoming CEO of her own company, Martha Stewart Omnimedia-forever changing how we think of media companies, media executives and media brands. And thanks to a diverse range of retail partnerships over the years-with the likes of Kmart, KB Homes, Macys, Home Depot and Walmart-Martha Stewart has proved to be not only an enduring multimedia brand, but one of the most revered and diversified lifestyle brands. Fifteen years ago, New York magazine called Ms. Stewart the definitive American woman of our time. Since then, shes also become one of the definitive media executives of our time-and, more than ever, an American icon. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 How much is a great idea worth - everything, or simply the going rate? BYLINE: RANCE CRAIN; rcrain@adage.com SECTION: Pg. 38 Vol. 81 LENGTH: 724 words

Im starting to believe that B.S. stands for Beyond Selling. Marketers now seem to aspire to a higher purpose, or they churn out ads whose selling idea is obfuscated by obtuseness and complexity. What are the UPS and Xerox campaigns all about? Is Delta Airlines Still Climbing any more productdirected that United Airlines Rising of a few years ago? And couldnt Allstates new Mayhem TV spots apply to any other insurance company? Generic ideas that apply to any product in the category should be worth less than ideas that home in on the very core of what your brand is all about. But Im afraid both are worth about the same in todays marketplace. This isnt (just) a rant against big-company procurement practices, which were originally set up to value the worth of such staples as office supplies and bulk chemicals. Its also a rant against ads that dont seem to be trying very hard to move the merchandise. Maybe marketers and their teams have another priority: execution as opposed to strategy. With so many platforms to deal with, its not hard to see how marketers could be more involved in the mechanics of the message than the message itself. Or, as one agency exec told me, Execution is becoming an excuse for ideas. Thats certainly what must have happened with the new Xerox campaign, which the company call its most ambitious and innovative. The basic idea is that Xerox helps companies with business processes and document management, freeing them up to focus on their real business. The result is a mish-mash of elements-in one spot that Ive seen several times and had no idea what it was about (until I read the Xerox press release), a Marriott bellman processes invoices while trying to provide guest services at the same time. Maybe Xerox is trying to do too much. Along with the innovative use of brand characters, were

cutting through the clutter with innovative media, like interactive billboards and attention-grabbing digital units, explained Xerox CMO Christa Carone. Lots of innovation, lots of attention-grabbing. The idea gets trampled in the process. Or take the new UPS campaign (please). To the tune of Thats Amore, UPS is airing a We love logistics ditty in commercials that show how UPS can repair laptops for a computer manufacturer, fill prescriptions for medical devices or provide online printing services. UPS refers to its portfolio of solutions collectively as logistics, but I didnt know that, so I had no idea what the company was talking about. The print ads take a more meat-and-potatoes approach with the headline, Why logistics is the most powerful force in business today, and they provide more information about how UPS can help businesses of all sizes with logistics, according to Crains BtoB magazine. So why take such a consumer-oriented direction in the TV ads? The true audience for logistics services are large, sophisticated companies. It is a trivializing approach, Laura Ries, of Ries & Ries, told BtoB. Another observer told me the UPS ads were talking down to their customers. Maybe procurement people and other arbiters of todays advertising weigh ads by the pound and decide that if they are complicated and have a lot of moving parts, theyre worth more. A powerful yet simple idea just doesnt seem hefty enough to command respect. I get the feeling that producing great advertising just isnt worth the effort anymore, especially given the short tenure of most marketing executives. Its easier to engineer elaborate, complicated extravaganzas. So at a time when advertising is being forced down the food chain in the U.S., China, for one, is publicly endorsing its value. Advertising is fundamental to economic development and sustaining a harmonious society, a top official declared recently. The Chinese government is incorporating advertising as a pillar of the countrys economy in its latest five-year plan. As Tim Love, vice chairman Omnicom Group and CEO of Omnicom Group Asia Pacific, India, Middle East and Africa put it: They sure have a very high regard for the profession of advertising. Has the U.S. ever given advertising that kind of respect? And why should it be a surprise that businesses here have relegated it to the back burner, in favor of redoubling their efforts to make sure theyre not being overcharged for ballpoint pens? LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 WHOS WINNING THE CHECKIN RACE SECTION: Pg. 3 Vol. 81 LENGTH: 121 words

For the first time, get checkin figures for the top brands on Foursquare. Our chart tracks how major brand merchants are faring in the exploding Location-Based Services (LBS) space. Were producing this exclusive chart with editorial partner Trendrr, the real-time business intelligence tracking service created by New York digital agency Wiredset. Checkins in the week before Thanksgiving were in a lull, dipping week-over-week because, we suspect, retailers were saving up their LBS-incentivizing firepower for Black Friday (the real one, after Thanksgiving, not all the kinda, sorta pseudo pre-11/26 Black Fridays). Check adage.com/adagestat for the latest data every Monday and a special breakdown of Black Friday checkins. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; SI.coms Just Askin SECTION: Pg. 4 Vol. 81 LENGTH: 172 words

PRINT-TO-DIGITAL/ BEST USE OF WEB VIDEO FOR READER/VIEWER ENGAGEMENT si.com/specials/just-askin/ Its a simple conceit-Just Askin: Your Questions Answered by Top Athletes-thats had phenomenal resonance: more than 4 million views within its first five weeks of launch. Why has this new original video series on Sports Illustrateds website taken off so quickly? For starters, because of access-the power of the SI brand compels just about any coach or player in the biggest college games of the season to cozy up to the camera, if summoned. Meanwhile, the athletes get to feel like theyre doing fan outreach (at massive scale), so its a brand-building opportunity for them, too. Because online voting determines who gets asked what, and reader/viewers get name-checked when their query connects (e.g. Given the transition to the Big Ten, are there plans to implement a more traditional option defense?-submitted by Christopher A. Willis), even the fans have an opportunity for their own moment in the sun. In other words: win-win-win. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Big Fork Little Fork iPad app SECTION: Pg. 4 Vol. 81 LENGTH: 151 words

MARKETER-AS-MEDIA SPOTLIGHT/ KRAFT Available on iTunes When the iPad launched in April, Kraft saw it not as a next-generation magazine but rather as a hot new kitchen gadget. So the company took what it learned developing iFood Assistant, its highly successful iPhone app, and created a whole new brand for the iPad. Big Fork, Little Fork is full of kid-friendly recipes and educational games and was born out of research that showed strong demand for kids food resources but not a lot of content. The app is definitely a marketing tool-success will be judged not only by the scale of downloads but also by its audiences aggregate purchase of Kraft products vs. the general population. But another testament to its value is that it also generates revenue. Kraft launched with a $1.99 price tag; for a limited time its free but a Marcus Samuelsson-created content pack is available for a $4.99 in-app purchase. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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November 29, 2010 2010 MEDIA VANGUARD AWARDS; A Conception Story: Six Journeys to Pregnancy SECTION: Pg. 6 Vol. 81 LENGTH: 167 words

MARKETER-AS-MEDIA SPOTLIGHT/ BEST ORIGINAL SPONSORED WEB SERIES FROM A TRADITIONAL BROADCASTER tlc.com/aconceptionstory Inspired by TLCs long-running A Baby Story, the TLC.com web series A Conception Story: Six Journeys to Pregnancy-coproduced with the makers of the First Response pregnancy test-told the story of six women on the road to motherhood over a 10-episode arc. The show offered an innovative blend of professionally produced segments and DIY content: Each mom-to-be was given a Flip camcorder so she could capture her own video-diaristic thoughts on her own time and terms. A lot of reality shows achieve authenticity by faking it. By putting its subjects in control, the producers of A Conception Story offered viewers an unvarnished portrayal of the challenges of trying to conceive. Rounded out by weekly blog posts and an active message-board community, the web series ultimately came off as one giant, engaged support group for not only the shows characters, but its viewers. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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November 29, 2010 2010 MEDIA VANGUARD AWARDS; OxygenLive SECTION: Pg. 6 Vol. 81 LENGTH: 155 words

BROADCAST-TO-DIGITAL/ BEST TV BROADCASTER SOCIAL-MEDIA ENGAGEMENT PLATFORM oxygenlive.com Lots of media products that are high profile in the social-media sphere end up underperforming in reality. Realizing that, Oxygen set out on a mission to try to convert social chatter into real engagement by hosting two-screen social viewing parties centered on its signature shows, including The Bad Girls Club, on OxygenLive. Viewers could chat with cast members live during broadcasts, and tweet or Facebook-update from the same hub. With real-time data captured from the experiment, Oxygen was able to track a massive bump in ratings. OxygenLive initially ran only for East Coast Bad Girls viewers. When the West Coast got its own OxygenLive, season-over-season ratings jumped from 9% (without OxygenLive) to 57%, helping to make Bad Girls the first Oxygen original series in history to average more than one million viewers, ages 18-49. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Wired iPad edition SECTION: Pg. 6 Vol. 81 LENGTH: 147 words

PRINT-TO-DIGITAL/BEST MAGAZINE APP THAT REALLY NEEDED TO BE GREAT Available on iTunes Does Wired have an advantage over other magazines on the iPad? Sure. Its editors constantly think about consumer and communications tech, while its readers lunge for good gadgets. But that also made Wired the equivalent of a storied New York pizzeria: selling a substandard slice would have been noticed. Happily for Wired-especially after its debut iPad issue was downloaded 24,000 times in 24 hours, on its way to more than 105,000 copies sold-the app demonstrates the state of the art in almost every way. Every page is laid out to look like it was conceived for the iPad. Infographics that are impressive in print receive time-lapse controls in the iPad edition. Some people complained about big file sizes and long download times, but those were worthwhile prices for videos that play at a touch. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

November 29, 2010 2010 MEDIA VANGUARD AWARDS; Pillsbury Recipe Channel SECTION: Pg. 6 Vol. 81 LENGTH: 195 words

MARKETER-AS-MEDIA SPOTLIGHT/BEST USE OF VIDEO ON DEMAND FOR CONSUMER SERVICE/OUTREACH Available in New York-area Cablevision homes Available since May 2010 in 2.9 million New York-area Cablevision homes, the Pillsbury Recipe Channel integrates interactive TV with on-demand video to give consumers access to a sort of living, breathing cookbook. An ultra-simple interface (designed to be easy to navigate with a TV remote) offers family-friendly recipes for everything from Thai Appetizer Pizza to Easy Stromboli, each using at least one Pillsbury-branded ingredient. In-kitchen video demos walk viewers through the recipes, featuring brand-related personalities including past Pillsbury Bake-off competition participants. The channel was the result of a collaboration between Pillsbury, Zenith and Rainbow Advertising Sales at Cablevision. The goal: deploying Cablevisions interactive TV capabilities to deepen Pillsburys relationship with its customers and potential customers. The pay-off so far has been dramatic, with more than half a million unique households (out of 2.9 million total) visiting the channel, with an average engagement time of more than nine minutes. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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November 29, 2010 2010 MEDIA VANGUARD AWARDS; NPR Mobile Apps SECTION: Pg. 6 Vol. 81 LENGTH: 174 words

BROADCAST-TO-DIGITAL/ BEST BROADCASTER IPHONE IPAD ANDROID APPS Available on iTunes Its entirely possible that kids growing up today will have no idea what platform NPR began on. And for the public radio network, thats a good thing. Building on its already successful website, NPR has been expanding craftily into new platforms this year, including iOS devices and Android, and the mobile space now accounts for a whopping 40% of its internet traffic. Its signature app, NPR News on the iPhone, draws in about 20% of the networks total internet traffic and provides a top-class experience for consuming content and streaming affiliate stations while on the go. The subsequent NPR Music app has also been a runaway success, letting users browse by musical genre or an extensive library of featured artists, then stream audio and save tracks to a playlist. And when Apples iPad was launched in April, NPR was ready at the gate, offering a fullscreen experience of everything it has to offer on the web, beautifully assembled for the tablet. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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2010 MEDIA VANGUARD AWARDS; Runners World Challenge SECTION: Pg. 6 Vol. 81 LENGTH: 196 words

PRINT-TO-DIGITAL/BEST INTEGRATED USE OF ONLINE TOOLS AND OFFLINE EVENTS FOR READER SERVICE runnersworld.com/challenge A web-based training program for aspiring and veteran marathoners and half-marathoners, the Runners World Challenge was launched in the July 2009 issue of the magazine with an announcement that its staffers would take part in it, training and running alongside readers-both virtually and literally. Online, a robust forum (where readers and editors talked nutrition, injury prevention, etc.) supplied support and knowledge, while interactive training logs let participants track their progress. Offline, more than 600 readers to date have raced with RW editors at marathons and half-marathons in Cincinnati, Richmond, San Francisco and Toronto. Early revenue from the program (some 1,500 readers have paid as much as $295 to take part so far) suggests that Runners World, in devising a new editorial franchise, may have also launched a significant new service business. But the biggest pay-off for now is in the message that the Runners World Challenge sends about brand integrity: The magazines editors, you see, dont just talk the talk, they run the run. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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November 29, 2010 2010 MEDIA VANGUARD AWARDS; The New York Times on the web SECTION: Pg. 6 Vol. 81 LENGTH: 214 words

PRINT-TO-DIGITAL/ BEST NEWSPAPER WEBSITE nytimes.com The worlds most important newspaper publishes the worlds most essential newspaper website. And it does so with an ever-increasing pace of innovation. Over the past year, nytimes.com has focused on deepening its connection with readers through elegant multimedia service (e.g., Thanksgiving: A Users Manual), community-generated slide shows (After the Storm: Reader Photos), immersive interactive features (Reviving Ground Zero), maps that come to life (Stop, Question and Frisk, which plotted where police stopped and questioned passersby in New York neighborhoods) and even off-site initiatives that drive traffic back to the mothership (e.g., the Times food page just launched on Facebook). Nytimes.com has found a way to strike a note of inclusiveness-and openness to surfacing news and information through nontraditional channels-while never wavering in its professionalism or compromising brand values. More than 30 million unique monthly users in the United States alone depend on nytimes.com. As it rolls out its announced paywall strategy in 2011, we can only hope that the papers tradition of smart digital innovation sets additional new standards-and creates workable new business models-for the newspaper industry. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; The Atlantic Wire SECTION: Pg. 8 Vol. 81 LENGTH: 173 words

DIGITAL NATIVE/ SMARTEST AGGREGATOR TheAtlanticWire.com A standalone web product from Atlantic Media, the parent company of venerable glossy The Atlantic, The Atlantic Wire smartly aggregates opinion journalism by, in the sites own words, following hundreds of leading opinion-makers and commentators to provide an essential framework to the days best analysis and most daring and important arguments. The sites team parses op-ed pages, blogs, cable news shows, talk radio, magazine articles and more across five departments (politics, business, culture, technology and global) in a rather heroic and voracious act of curation. How do they find the time to not only consume all this stuff, but sift through it and present it so thoughtfully? This site is so well done that once you make a habit of using it, it begins to feel like an essential part of your life. Break the habit for a while, and youll start to feel, well, stupid. Or at least less on top of What Everybodys Thinking, as The Atlantic Wires tagline so aptly puts it. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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November 29, 2010 2010 MEDIA VANGUARD AWARDS; InStyle.coms Instant Stylist SECTION: Pg. 8 Vol. 81 LENGTH: 124 words

PRINT-TO-DIGITAL/ BEST FASHION MAGAZINE INTERACTIVE GAMING EXPERIENCE View it at InStyle.com/instyle/fashion-games Because weve all got a little celebrity stylist inside of us, InStyle has created a wonderfully addictive online game to test our mettle. The site serves up an almost complete outfit, but its up to you to pick the proper shoe or handbag to complete the look. Drag and drop your pick and be rewarded with points for your style genius or a tip on why your selection is less than prime-and a suggestion of what might work better. The easy interface requires no instruction and, while simple, the game is surprisingly engaging, with an educational component telling you why certain looks work or dont and e-commerce links built into it. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Cosmopolitan SECTION: Pg. 8 Vol. 81

LENGTH: 177 words

PRINT-TO-DIGITAL/ BEST PRINT BRAND GLOBAL DIGITAL STRATEGY cosmopolitan.fr, cosmopolitan.it andmany, many others Consider this milestone: Across the world, Cosmopolitan now has 50 digital sites online, 10 digital editions across all tablet devices, nine made-for-mobile apps and two iPad apps. To celebrate that remarkable digital footprint, the uniquely iconic American publishing institution decided to celebrate its growth into a worldwide brand with its first-ever online global branding initiative, the Cosmo Fun Fearless Female Campaign (cosmopolitan.com/fff), which leveraged social media and user-generated media to show the world the increasingly global face of Cosmo. The reach and resonance of the Cosmopolitan print brand has been awesome for decades-today its published in 60 international editions, in 36 languages for over 100 countries, including Australia, China, France, Italy, Korea and Russia-but its clear that parent company Hearst has been investing smartly in making the brand as strong in the global digital space as it is on the newsstand. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; TMZ Mobile SECTION: Pg. 8 Vol. 81 LENGTH: 99 words

DIGITAL NATIVE/ MOST ADDICTIVE MOBILE NEWS ENTERTAINMENT APP Available via iTunes and the Android store TMZs mobile apps are so slick, intuitive and juicy that the next thing you know, youve killed 30 minutes waiting in line at the DMV sorting through Lindsays latest troubles or the Mel-Oksana saga. The app lets you keep track of the latest Hollywood follies with video, photos and TMZ TV and spread the news with a prominent share button. Its got scale, with 2.4 million downloads in the U.S. among Android devices, iPhones and iPads, and-in keeping with TMZs newsroom metabolism-is quite fast LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Menupages iPhone app SECTION: Pg. 8 Vol. 81 LENGTH: 97 words

DIGITAL NATIVE/ BEST CONSUMER SERVICE IPHONE APP Available on iTunes Menupages has been a staple of delivery addicts, vegans/vegetarians and picky eaters for the eight

markets in which it operates, but it wasnt particularly attractive and was often inaccessible from most mobile phones-until the January launch of its iPhone app. The free, ad-supported app lets people search for restaurants by neighborhood, address, or hankering for Pad Thai as well as by GPS. Version 2.0 of the app, available last month, offers the ability to save favorites and share restaurants via social media. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Fitness Express app SECTION: Pg. 10 Vol. 81 LENGTH: 182 words

PRINT-TO-DIGITAL/ BEST SPECIAL-INTEREST MAGAZINE PAID CONSUMER-SERVICE APP Available on iTunes Anyone whos engaged in the epic struggle to get to the gym in the morning or simply failed to find a hole in their planners big enough to bury some calories knows that convenience is key for maintaining any fitness plan. So its hardly surprising that Fitness magazines $1.99 Express Workouts iPhone app has found an audience with its selection of easy, 15-minute workout routines designed for women on the go. Pick between abs, arms, butt or thighs-or everything all at once-and instructions, complete with demonstration pictures and videos, guide you through each of the dozen workouts available. The

app allows users to track their progress in a centralized log afterwards and, for those requiring real motivation, share the results of Booty Camp or Instant Sexy Arms workouts with others. This paid app doesnt just repackage magazine content in a form thats more practical than print or a website, its also a standout because it ushers new users into the brand with something of obvious value. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; At Bat 2010 iPad app SECTION: Pg. 10 Vol. 81 LENGTH: 185 words

MARKETER-AS-MEDIA SPOTLIGHT/ BEST MARKETER-TO-CONSUMER IPAD MEDIA PLAY iPads (iPhones as well) Major League Baseball broke new ground for a pro-sports league when it started streaming games on the web-in high-definition-with its MLB.TV service in 2008. So, it would make sense that MLB would move that experience to the iPad with At Bat 2010. Like the web version, At Bat 2010 gives viewers news and stats, but most importantly, the video from out-of-market games. But it also gives users more than they could ever get on TV, like pitch-tracking functionality that tracks the location,

speed and type of every pitch thrown. Apple CEO Steve Jobs unveiled the MLB app in January, and it launched in April, the day before the start of the 2010 season. So far, its been downloaded 125,000 times, at $14.99 a pop, and that doesnt include a subscription to live video, which is either $99 or $120 per season. Not only is MLB getting baseball fans to pay for games on different device, the iPad gives marketers new opportunities for advertising, including digital signage for marketers inside the live game simulation. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; FTs Alphaville SECTION: Pg. 10 Vol. 81 LENGTH: 150 words

PRINT-TO-DIGITAL/ GLOBAL SPOTLIGHT ftalphaville.ft.com/ Financial-news organizations have been negotiating a tough balancing act between charging subscriptions for high-value information and luring in the broader community with free content and blogs. The FT led the way for financial news blogs when it launched FT Alphaville in 2006; today, the blog is an example of how a free, online product can peacefully coexist-even enhance-the paid online and print products.

Alphaville moves fast, tailors coverage to what the readers find interesting and doesnt shy away from something truly foreign to markets coverage: some lighthearted humor. In addition to weighing in on the stories, Alphaville wants to own the conversation around them. In 2008, they launched a forum, The Long Room, where financial professionals (9,300 members) chew the fat over everything from restaurant reviews to financial reform. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; The Creators Project SECTION: Pg. 10 Vol. 81 LENGTH: 224 words

MARKETER-AS-MEDIA SPOTLIGHT/ BEST INTEGRATION OF VIDEO, EDITORIAL AND EXPERIENTIAL thecreatorsproject.com A seemingly unlikely collaboration between blue-chip tech giant Intel and Brooklyn-based international indie-culture magazine Vice has produced a fresh, exciting and entirely engrossing online and offline media destination. The Creators Project describes itself as a new network dedicated to the celebration of creativity, culture and technology across media, and around the world with two mandates: identifying and celebrating the work of visionary artists and serving as an arts foundation of sorts that facilitates the production and dissemination of new work with these artists

and their collaborators. At thecreatorsproject.com, a media channel centered around original video (with more than 50 million streams to date) and blogs, internationally acclaimed DJs and musicians including Mark Ronson and Peaches are commingled with fashion icons (e.g., Vera Wang, Suh Sangyoung) and visual artists (Ray Lei, Stefan Sagmeister). At social-media-powered Creators Events, which kicked off in New York City over the summer then branched out to London, Sao Paulo, Seoul and Bejing, art exhibitions, film screenings, panel discussions and live performances have exhilarated audiences. Blazingly ambitious? Yes. Brilliantly executed? Absolutely. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Mac|Life for the iPad SECTION: Pg. 10 Vol. 81 LENGTH: 189 words

PRINT-TO-DIGITAL/ MOST PROMISING MAGAZINE IPAD EDITION Available on iTunes Given its obvious Apple affinity, Mac|Life magazine must have been tempted to rush an iPad edition together in time for the new devices introduction last spring. Instead it took the time to ask readers what they wanted, while watching many other magazine apps go long on aesthetics but short on

interactivity. The app edition that Mac|Life finally delivered at the end of August still isnt the magazines final word-its a free Issue Zero of previously published content, to be followed eventually by a regularly published paid app-but it outdoes most of its peers in publishing. The app is gorgeous, like much of the competition, but its users can also read Mac|Lifes live Twitter feed; share stories via Twitter, Facebook or email; see how many views an article has gotten; and give their own ratings for the apps that Mac|Life reviewed in the issue. They can also comment on articles using a web-linked section that loads like lightning inside the app-a down payment on the next iterations truly in-app commenting. Were really looking forward to that one. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Entertainment Weekly Must List app SECTION: Pg. 10 Vol. 81 LENGTH: 151 words

PRINT-TO-DIGITAL/ BEST MAGAZINE APP WITH A PURPOSE Available on iTunes While many magazines immediately set about building iPad editions of their print editions, all the better to finally sell their content on a digital platform, Time Inc.s Entertainment Weekly recognized

early that there are lots of ways to use the iPad and that full issues arent the only thing magazines have to offer. It delivered the result of these insights, an app rendition of its weekly pop culture Must List, all the way back in April, setting an example that others have now followed. The Must List app is a beautiful, breezy weekly presentation of the movies, music, TV, books and games that Entertainment Weeklys editors recommend you try. And if youre willing, itll help! Just tap the handy buttons letting you watch a trailer, read an excerpt, find showtimes and buy on Amazon. Its great for readers and its great for EW. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; The Glee Karaoke app SECTION: Pg. 12 Vol. 81 LENGTH: 141 words

BROADCAST-TO-DIGITAL/ BEST TV SHOW-INSPIRED IPHONE APP Available on iTunes The Glee Karaoke app is like a little joy-generating machine you can slip in your pocket. Inspired by the Fox hit Glee, the app allows you to sing along with hit songs, of course, but the sharing and gaming functions are where the user interface really shine. For instance, amateur singers who want to put their crooning up against the warbling of other players around the world can compete on a daily

leaderboard after mastering their performances. Theres a tidy recurring revenue angle to this apps business model, too: new songs are released every week (complete with lyrics, pitch timings and harmonies) and can be purchased in-app for 99 a pop. And closet rock stars around the world clearly love it: Theyve used Glee Karaoke more than 6 million times so far. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Esquire iPad edition SECTION: Pg. 12 Vol. 81 LENGTH: 140 words

PRINT-TO-DIGITAL/ BEST LIFESTYLE MAGAZINE IPAD EDITION Available on iTunes From its cover-which starts with the sounds of footsteps approaching and comes into focus as Javier Bardem walks up to introduce the issue-to its interactive features-like the user-controlled time-lapse animation of Ground Zero construction-to nice touches like the model who shows off different jackets as you rotate him, Esquires debut issue on the iPad demonstrated a tremendous amount of thought and polish. Without the Wired audiences devotion to tech and gadgetry, Esquire Editor David Granger wasnt

convinced that the iPad was going to be a huge improvement for magazines. Even when Esquire arrived on the iPad, he still wasnt: Magazines on paper are really good, he wrote. Magazines on an iPad, at least so far, are a mixed bag. His, however, excelled. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; USA Networks Club Psych SECTION: Pg. 12 Vol. 81 LENGTH: 160 words

BROADCAST-TO-DIGITAL/ BEST SOCIAL-MEDIA LOYALTY PROGRAM clubpsych.com Want to get people to do something? Give em points, a badge or a leaderboard to climb. Those are the kind of gameplay mechanics marketers and media companies are starting to weave throughout products and experiences. And theres no finer example in media than USA Networks Character Rewards loyalty program, which launched its first initiative, Club Psych, in July. The idea? To build the web presence and encourage social-media sharing around the networks mystery comedy-drama Psych. Fans register through the Club Psych website and earn points by watching videos, reposting content, playing games and browsing photo galleries. Points can be redeemed for real-world mugs, character bobbleheads and other merch. In the first month Club Psych and its 30,000 members accounted for a 30% lift in overall site traffic and 1.5 million page views in just one month. Not a

bad reward, indeed. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; New York Magazine on the web SECTION: Pg. 12 Vol. 81 LENGTH: 166 words

PRINT-TO-DIGITAL/ BEST MAGAZINE WEBSITE nymag.com Last century, New York Magazine set a new standard for general-interest magazines. This century, its set a new standard for how glossy stalwarts can thrive and innovate on the web. In the process, nymag.com has become much more than just a city-mag website; its transformed into a destination for a global audience seeking authoritative information on urban living, fashion, politics, pop culture and more. Innovative departments such as the Shop-A-Matic product guide have inspired legions of imitators, while the beloved Vulture culture blog has become a big brand of its own. Today, some 7.5 million monthly unique visitors have come to depend on nymag.com as a 24/7 news and entertainment source-which they may or may not be aware still has thriving weekly print magazine attached to it. Perhaps most remarkably, revenue from the sites premium display advertising will account for 30% of the company total this year (up from just 4% in 2004).

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Eat This, Not That! The Game SECTION: Pg. 12 Vol. 81 LENGTH: 148 words

PRINT-TO-DIGITAL/ BEST MAGAZINE FRANCHISE-TURNED-GAME Available on iTunes Think quick, somewhat-healthy eaters: Should you grab the cinnamon roll from Cinnabon or from Au Bon Pain? Have chicken wings or nachos? Pumpkin pie or pecan? Mens Health has been eagerly extending its reach through apps since July 2009, but transforming its Eat This, Not That franchise into a rapid-fire but simple game packed with nutrition information last April was a masterstroke. Guess wrong and a buzzer makes you jump, but either way the app pulls up stats on calories, protein, carbs, saturated fat and the like to let you know what you might not have previously. The free, ad-supported game racked up 500,000 downloads in its first 15 days-just further evidence that innovative magazine brands have more to give than monthly print issues. The answers, by the way: Au Bon Pain, chicken wings and pumpkin pie.

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; 24 Scene Extenders SECTION: Pg. 12 Vol. 81 LENGTH: 176 words

BROADCAST-TO-DIGITAL/ BEST BROADCAST TV EXTENSION INTO ORIGINAL MOBILE VIDEO Sprint network mobile phones Twentieth Century Fox found a way to squeeze a few more minutes out of every day-and out of each 60-minute episode of 24. The Fox series, which portrays the adventures of counterterrorism agent Jack Bauer, got a digital ad-on this year, 24 Scene Extenders, which extended one of three plotlines a few more minutes for Sprint phone subscribers. Naturally, Sprint sponsored the clips, also known as more24, which were shot for all seven episodes of the final and eighth season of the series. The key here is that the content was exclusive to the phone and shot with the small-screen in mind. Also, rather than self-contained promo material or a so-called mobisode, the point was to add value to the TV experience and to reward loyal, obsessed 24 fans with more of the plot theyd been enjoying on TV. Now that Jack Bauer is in retirement, there are no more scenes to extend, but expect others to give this a try to keep viewers active and engaged.

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Slate Labs SECTION: Pg. 33 Vol. 81 LENGTH: 166 words

DIGITAL NATIVE/ BEST NEW WEB-PUBLISHING IDEA FACTORY labs.slate.com Slate is one of the granddaddies of web publishing-it launched as a Microsoft-supported property all the way back in 1996, then was scooped up by The Washington Post Company in 2004-so some people like to knock it for being an antique. We prefer to think of it as a classic (with a devoted audience of 6 million unique visitors per month) and a place where, since August, experiments in multimedia journalism-the tagline of Slate Labshave a happy home. The whole point is to bring news and data alive with gee-whiz projects and visualizations like Lean/Lock (a political forecasting game), News Dots (examines how every story is connected by showcasing the most recent topics in the news as a giant social network), and the wrenching Job Loss Map. Every time Slate has added a new Lab experiment, weve felt both palpably better informed about the world and newly exhilarated about the emerging field of programmer-journalism.

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Television Without Pity SECTION: Pg. 33 Vol. 81 LENGTH: 148 words

DIGITAL NATIVE/STILL THE BEST PLACE TO READ ABOUT TV televisionwithoutpity.com You know how basically every single website in the known universe has TV-show episodes recaps? (Including, yes, AdAge.com, for Mad Men-we cant help it.) Blame TelevisionWithoutPity.com. Or, actually, thank TelevisionWithoutPity.com, because right from the start the site (which actually started as a Dawsons Creek recap site back in 1998) dramatically elevated the discourse about pop culture and, in doing so, showed web publishers how to build vibrant communities of smart, witty, loyal commenters. Today, the site is part of Bravos portfolio of linked digital assets that include Bravo.TV, and its 1.5 million unique visitors are astonishingly engaged: The average site visit lasts 19 minutes. And Bravo has been aggressively expanding the sites reach via iPhone, Palm and Android apps-all ad-supported. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; ESPN Local SECTION: Pg. 33 Vol. 81 LENGTH: 189 words

BROADCAST-TO-DIGITAL/BEST LOCAL INTERACTIVE MEDIA LAUNCH espnlocal.com As if your local newspaper needed any more bad news, ESPN is now in the neighborhood covering sports. Were talking high-school sports here, not to mention college, as well as the local pro teams youll also see on SportsCenter. In the year since ESPN started setting its sights on local, its built significant online presences in five of the nations biggest markets: New York, Chicago, Boston, Dallas and Los Angeles. It didnt hurt that two of these cities-Boston and L.A.-battled it out in the NBA finals this year. Each site gets its own, web-only SportsCenter segment, which recaps local sports news, and looks and feels, well, just like SportsCenter on TV. For pro franchises, ESPN drills down for the locally obsessed. New Yorks site, for example, has four different updates on the state of Derek Jeters contract talks. Los Angeles local site, meanwhile, has a poll question on the Lakers greatest-ever duo (Kobe and Shaquille vs. Magic and Kareem). Its another extension that shows theres still headroom for the already-formidable ESPN brand. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Legion of Extraordinary Dancers SECTION: Pg. 33 Vol. 81 LENGTH: 165 words

DIGITAL NATIVE/ BEST ORIGINAL WEB SERIES thelxd.com Whether you lean toward the vast wasteland or infinitely entertaining characterization of the online video space, its safe to say you probably hadnt seen anything like Legion of Extraordinary Dancers when it made its debut on Hulu in July. Created by Jon M. Chu, produced by Mr. Chu and Hieu Ho in partnership with Agility Studios and distributed by Paramount Digital Entertainment, this richly produced series that follows a cast of highly talented dancers has arguably ushered in a new auteur movement in webisodic broadcasting. It launched with a fan base out of the gate, thanks to performances at the 2010 TED Conference and the Academy Awards, and has been rolling out globally through the year. As Ad Age contributor Larry Dobrow put it earlier this year, LXD is, by a wide margin, the most beautifully filmed, elaborately staged web series in the history of the medium. [It] arrives as fully formed as most feature films. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Getty Images iPad app SECTION: Pg. 33 Vol. 81 LENGTH: 136 words

DIGITAL NATIVE/ BEST B-TO-B CREATIVE IPAD APP Available on iTunes This app is such a pleasure to use, it makes the sometimes tedious job of photo research-so central to creative departments in marketing and media shops-into something approaching childs play. (Which is not to say that its toolset-including the ability to instantly search a collection of 24 million images, save to a lightbox, and share with colleagues-isnt sophisticated.) Getty Images, the stock photo agency, has had a well-designed website for years, but its app designers keen understanding of the gestural advantages of the iPad platform makes all the difference. As your fingers dance through a seemingly limitless universe of pictures, photo research can begin to feel like a freeform brainstorming session-as opposed to a slideshow deathmarch. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Cond Nast Digital SECTION: Pg. 33 Vol. 81 LENGTH: 184 words

MARKETER-AS-MEDIA SPOTLIGHT/BEST ADVERTORIAL-PRODUCTION STRATEGY FOR THE IPAD Available in Cond iPad apps Odd to see a magazine company in this category, but get used to it: Media companies are acting more like ad agencies than ever before. Cond Nast is no stranger to creating ad experiences for marketers, but usually that means beautiful content for print or the web. Enter the iPad, magazine apps, and a whole new interactive platform for branded content. Cond has been creating lavish iPad executions for marketers. Their ads for Visa and designer Bottega Veneta are particular recent standouts. Media has just scratched the surface of the iPads potential-not to mention the host of other tablets coming to market this winter. Once they do, a flat magazine ad transferred to the iPad probably wont suffice, especially when the editorial on the next page has 360-degree views of images and other interactive components. Cond Nast jumped into the iPad early; now that its mastering the platform, it can continue evolving these ad experiences for advertisers . An intelligent strategy, well-executed. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; The Wall Street Journal iPad edition SECTION: Pg. 33 Vol. 81 LENGTH: 148 words

PRINT-TO-DIGITAL/ BEST PAID NEWSPAPER IPAD EDITION Available on iTunes If Rupert Murdoch wants consumers to pay for News Corp.s expensive journalism, there arent many better arguments than The Wall Street Journals iPad edition. Its robust but easy to use, somehow both busy and clean, and manages to stay current-as one expects of something connected to the webyet carry the weight of a morning edition. It pulls off that last trick by offering you either the Today edition, which reflects the morning papers print edition, or the Now edition, which pulls in The Journals latest reporting from the web. Those are in addition, of course, to the prior weeks morning editions, access to the Asia and Europe editions, the ability to save sections, and slideshows and video reports that enlarge easily for better viewing. It feels worth paying for-which means its been executed perfectly. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Radio.com iPad app SECTION: Pg. 34 Vol. 81 LENGTH: 146 words

BROADCAST-TO-DIGITAL/ BEST IPAD APP TO MAKE YOU LOVE RADIO AGAIN Available on iTunes A radio app that lets you listen to the radio has pretty much met its essential responsibilities. If it recommends more music that youd probably like based on what youve listened to so far, its doing the job of digital radio in 2010. But the iPad app from Radio.com, a product of CBS Interactive Music Group, stands out for its above-and-beyonds, such as seamlessly serving up content from radio stations websites. Ditto for the stations Twitter feeds. We also like browsing stations-by genre, city, or provider, whether terrestrial or online-while listening to another. When the commercial break comes, weve already got a new radio station ready for us (sorry, advertisers). Copious info and photo galleries on the artists at hand round out a package that stands way out from the competition. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Popular Mechanics iPad edition SECTION: Pg. 34 Vol. 81 LENGTH: 147 words

PRINT-TO-DIGITAL/ BEST ENTHUSIAST MAGAZINE IPAD EDITION Available on iTunes Things you must love about Popular Mechanics iPad edition: cover lines rendered as a scrolling ticker; live news from the website, presented beautifully; the ability to bookmark articles you want to come back to; clear but unobtrusive instructions; the ability to share articles by email, Facebook and Twitter; pages laid out perfectly for the screen; interactive graphics that are fun to explore; and bits of finesse like the cameras and goggles that zoom onto the page a split second after you arrive, making an entrance to their own reviews, or the pull quotes that elegantly glide to their places. Unlike some magazines iPad editions, the Popular Mechanics app gracefully captures your attention again and again, neither letting you wonder whats going on online nor reminding you how good print already is. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010

2010 MEDIA VANGUARD AWARDS; USA Today iPad edition SECTION: Pg. 34 Vol. 81 LENGTH: 144 words

PRINT-TO-DIGITAL/ BEST FREE NEWSPAPER IPAD EDITION Available on iTunes For any intricate app that received a Media Vanguard Award this year, there are dozens that were too complex to work well, use easily or generally deliver on their creators intent. So its a pleasure to honor USA Todays iPad app, which delivers the news effectively but seemingly effortlessly. Everything does what youd expect when you swipe or tap it, making the app a great expression of USA Todays brand, which is all about giving you what you want without a lot of fuss. The apps also been free since it arrived at the iPads debut in April, easing its way to more than 950,000 downloads, according to USA Today. Executives had planned to start charging after an initial 90-day sponsorship by Marriott, but ad demand has proven strong enough that so far theyre keeping the gates wide open. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Allstate Teen Driver website SECTION: Pg. 34 Vol. 81

LENGTH: 176 words

MARKETER-AS-MEDIA SPOTLIGHT/ BEST CONSUMER-SERVICE WEBSITE RELAUNCH allstateteendriver.com By all rights, the Allstate Teen Driver website should be a bore. Its mandate is to educate 12-to 19year-olds about stuff they dont really want to be educated on, including the challenges of learning to drive, the rules of the road and the risks of texting at the wheel. Working with Acquity Group, Allstate decided to relaunch the site this year to not only embrace the way teens think and speak (with an emphasis on sarcasm and skepticism), but to engage them with clever control simulations, quizzes, accident-simulating modules and (actually funny!) videos and interactive gaming. In just the first few months of the relaunch, the site drew more than 100,000 unique visits (previously a registration-based site, it had drawn just 8,000 registrants in its entire first five years), with a big boost from educators who are happy to direct their students to a totally engaging multimedia site with a simple, life-saving message: Teens can become smarter drivers. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; ABC Player iPad app SECTION: Pg. 35 Vol. 81 LENGTH: 127 words

BROADCAST-TO-DIGITAL/ BEST TV NETWORK IPAD APP Available on iTunes Remarkably, the ABC Player for iPad-which lets you watch full episodes of 20 popular ABC showswas designed, built and launched in less than five weeks. ABC not only nailed the user interface (with an elegantly designed menu of available episodes, the ability to watch in portrait or landscape mode, a TiVo-style pause function, etc.), it pioneered on the business side: It was the first network to offer ad-supported full episodes on the iPad. Consumers have voted with their fingers, downloading the app more than 1 million times and viewing more than 10 million episodes on it so far. Available from the iPads first day, the ABC Player app was one of those rare perfect-at-birth media products. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; How Stuff Works podcasts SECTION: Pg. 35 Vol. 81 LENGTH: 132 words

DIGITAL NATIVE/ BEST CONSUMER-ENTHUSIAST PODCASTS Available on iTunes

It can be hard for online media brands to convey a sense of humanity. For HowStuffWorks.com, which is packed with thousands of smart articles to appeal to your inner student, the solution has been to enable some of its best teachers to speak right to the class with an expanding audio and video podcast series available through a dedicated iTunes channel. The charmingly rambling, geeked-out public-radio aesthetic is at play in hit shows such as Stuff You Should Know, Stuff You Missed in History Class, The Coolest Stuff on the Planet and CarStuff. The result is a deeply engaged audience-the podcasts average a collective 8 million downloads per month-and consistent Top 10 placement on the iTunes podcast charts. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Ustream Broadcaster SECTION: Pg. 35 Vol. 81 LENGTH: 154 words

DIGITAL NATIVE/BEST NEW LIVE MOBILE VIDEO TOOL Available via multiple mobile stores With Ustreams broadcast app (for iOS devices, Android, Nokia), suddenly anyone can broadcast video live from anywhere they can snag a data connection. If you already have a Ustream account, you can be live in two taps of a finger and it will automatically let your entire social network know

youre broadcasting. And, as youre broadcasting, you can poll and chat with viewers, all from a clean interface, and finished videos can be sent to YouTube for posterity. Of course, this is all for naught if youre only broadcasting play-by-play of your cat slipping across the floor, and so far, Broadcaster is still looking for a breakout event that will highlight its potential for a wider audience. But the technology that transforms our lives is the technology thats easy to use, and Broadcaster is so easy your cat could point the camera at you. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Walmart on Facebook SECTION: Pg. 35 Vol. 81 LENGTH: 225 words

MARKETER-AS-MEDIA-SPOTLIGHT/ BEST NATIONAL RETAILER SOCIAL-MEDIA STRATEGY facebook.com/walmart Unlike a lot of brands that simply show up on Facebook-because every big marketer feels like they have to be there-Walmart shows up and then engages, deeply. The retail giant has given its fans plenty of reasons to come back, creating a community of customers who share recession-friendly recipes-as in the $2 (and under) Holiday Recipes section, where you can get step-by-step instructions (and a

Walmart-ready shopping list) for making Roast Turkey with Herb Butter for $1.22 per serving-and money-saving shopping tips. A rapid-response team responds to customer praise, complaints and requests. And theres a thoughtful balance of customer participation and reward evident in the innovative Facebook apps, like shareable Christmas-gift wish lists and the Groupon-esque CrowdSaver, which activates nationwide discounts if enough customers like a proposed sale (e.g., $178 for an Acer Aspire One netbook-28% off-a deal that more than 5,000 customers recently voted for, and which ended up cleaning out Walmarts entire inventory). In early 2009, Walmart had just 40,000 fans on Facebook. Today, it has nearly 2.5 million thanks to its expertly deployed strategy to use the social-networking site to start an ongoing conversation with its most loyal customers. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; First Day, the web series SECTION: Pg. 35 Vol. 81 LENGTH: 208 words

MARKETER-AS-MEDIA SPOTLIGHT/MOST INNOVATIVE USE OF ORIGINAL WEB VIDEO FOR MERCHANDISING firstdaytheseries.com

In First Day, Cassie Mitchell cant get it right. Shes a new student starting high school, and in a Groundhog Day-esque twist, she has to keep repeating her first day at school over and over again. Each day, per the comedic web series synopsis, she is able to experiment with her look, as she learns about herself as a person and tries to win over her new crush. As it happens, the entire seriesan eight-episode arc of four-to six-minute shows-is Styled by Kmart. It could be cheesy, but instead its incredibly winning (and as smartly produced as anything youd see on Nick or Disney Channel). And given that the fashion-as-self-expression angle is integral to the plot, the Kmart branding-and the Featured Products sidebar-feels servicey, not overbearing. Its like reading Lucky magazine if Lucky had a plot. Produced by Alloy (the company known for its Gossip Girl and Pretty Little Liars book series) and distributed through the massive Alloy Digital Network, First Day drew a remarkable 8 million episode views by the time the series was over-at which point, thank God, the calendar finally advanced for sweet Carrie. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Rite Aids Giving Care for Parents online video series SECTION: Pg. 35 Vol. 81 LENGTH: 241 words

MARKETER-AS-MEDIA-SPOTLIGHT/ BEST USE OF ONLINE VIDEO FOR CUSTOMER

SERVICE giving-care.riteaid.com Rite Aids Giving Care for Parents original online video series targets a growing demographic: the 44 million Americans who, according to the National Alliance for Caregiving, serve as unpaid caregivers to an adult family member or friend. Working with Fox Learning Systems, Rite Aid created a comprehensive library of online videos (similar in tone and production quality to TV-newsshow health segments) that offer advice and guidance on specific health issues (dementia, diabetes, cancer, injuries due to falls, etc.) and related financial and emotional issues (some of the videos are downright heartbreaking in their frank interviews with everyday caregivers dealing with, for instance, a spouses Alzheimers). Theres no brand hard-sell (at most, customers are offered coupon opportunities); instead, the videos underscore Rite Aid pharmacies as an authoritative source of information on caregiving and aging. Remarkably, the 116-video series addresses a middle-to lowerincome demographic that is typically neglected in digital marketing initiatives. Theres often a temptation in using technologies like streaming video to, well, show off-to position brands as shiny, happy players on the digital bleeding edge. But Rite Aids Giving Care For Parents video series is sober, serious and utterly unflashy. Which makes it stand out all the more. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; ESPN SECTION: Pg. 35 Vol. 81 LENGTH: 171 words

BROADCAST-TO-DIGITAL/SPECIAL AWARD FOR TECHNOLOGICAL ACHIEVEMENT On cable and satellite Most of the 2010 Media Vanguard Awards are for companies that are pushing cross-media boundaries-moving into new media territory beyond their traditional strengths. But the MVA judges were so dazzled by a series of technological showcases submitted by ESPN that we decided to recognize the sports network for pushing into entirely new dimensions within its existing wheelhouse: broadcast. In a post-Avatar age, ESPN is wisely supercharging its broadcasts with all kinds of virtual technologies that are not only very cool-looking, but dramatically enhance viewer understanding of the on-screen action (e.g., at the Open Championship at St. Andrews, ESPN added the ball-track tee, a real-time, hit-tracking system that traces the flight of the ball from the tee to green). And on June 11, the first 3-D network in the U.S., ESPN 3D, was born when Mexico faced South Africa in the 2010 FIFA World Cup game. As always, ESPN is ahead of the game. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Hero Complex SECTION: Pg. 12 Vol. 81 LENGTH: 191 words

PRINT-TO-DIGITAL/ BEST NEW NEWSPAPER-PUBLISHER MULTIMEDIA BRAND latimes.com/herocomplex It started out humbly enough: In July 2008, latimes.com launched the Hero Complex blog for fans of comic books, sci-fi and fantasy film and TV. It quickly gained a following among the self-described fanboy set-so much so that in 2010, the Los Angeles Times Media Group decided to see if it could grow it into its own standalone brand. Its well on its way. In the space of a year, the newly redesigned Hero Complex blog has spawned all manner of social-media-enabled offline events, most notably the first annual Hero Complex Festival (which featured Leonard Spock Nimoy and directors Christopher Inception Nolan and Ridley Blade Runner Scott). HC has also made itself a major presence at geek-fest Comic-Con, book festivals and film screenings and panels around town, often with advertiser backing and sponsor tieins. The deep integration into real-world events, meanwhile, has fed plenty of exclusive, fan-pleasing content back into the Hero Complex blog. A leading chronicler of the fanboy scene, in other words, is becoming a major scene-maker itself. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 29, 2010 2010 MEDIA VANGUARD AWARDS; Vevo music video platform SECTION: Pg. 10 Vol. 81

LENGTH: 192 words

DIGITAL NATIVE/ ONLINE VIDEO PLATFORM LAUNCH OF THE YEAR Web, iPad, net-connected TVs The recording industry spent a decade watching pretty much all of their attempts to win in digital fail. Then came Vevo. The startup, backed by Universal Music Group and Sony Entertainment, was born from a brilliant business deal: YouTube agreed to power the service and wrap all videos from labels in the service (now including EMI) in the Vevo player. The labels gave the startup five-year global distribution rights-and the exclusive right to sell ads against those videos. The result is that in less than a year, Vevo is the No. 2 online video service to YouTube and is branching out from videos to original programming. MTV, meanwhile, is in the awkward position of having to negotiate with Vevo for online rights to artists like Lady Gaga and Justin Bieber. How dominant has Vevo become? Five of the top-10 YouTube videos of all time are from Vevo, including Mr. Biebers Baby, with more than 391 million views. If Vevo works, it will make advertising a bigger revenue stream for artists, which means less dependence on dwindling CD sales and digital downloads. LOAD-DATE: December 2, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; 5

BYLINE: E.J. SCHULTZ SECTION: Pg. 22 Vol. 81 LENGTH: 299 words

PAUL CHIBE, VP-U.S. GUM AND MINTS, WM. WRIGLEY JR. CO. With its slick packaging, innovative flavors and highly produced ads, Wm. Wrigley Jr. Co.s 5 gum continues to gain momentum in the sugarless-gum category. Launched only three years ago, the gum now commands a 13% market share, according to SymphonyIRI, which excludes Walmart. U.S. sales grew nearly 11% to more than $304 million in the year ended Oct. 3, putting it within striking distance of Kraft Foods Trident, the second-place gum in the category. Wrigley says the gum is on its way to becoming a $500 million brand globally this year. The company introduced 5 in 2007 with the hyperbolic Stimulate Your Senses TV ad campaign-by Energy BBDO, Chicago-that equated gum-chewing with intense human feats, such as speeding down a high-powered cooling tunnel. The campaign continues today. When you push the envelope in your creative, [consumers] go with you because they understand that your hyperbole lets them suspend their disbelief, said Paul Chibe, Wrigleys VP of U.S. gum and mints. The name 5 refers to the five senses, and the gum comes in 10 flavors, including Cobalt, a peppermint; Rain, a spearmint; and Lush, a crisp tropical. But 5s marketing is as much about image as taste and smell. Targeting young adults, Wrigley put the gum in chic black packaging that Mr. Chibe said is a game-changer for the gum category. Convention is that you buy your flavor by pack color, and when you get to the shelf you see a circus of color, he said. For 5, black signifies premium, Mr. Chibe said, comparing it to black iPods. Wrigley continues to invest heavily in the brand with new offerings. In March, the company introduced 5 React, which includes mint and fruit flavors that come in black-colored sticks wrapped in black foil. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AIRSTREAM, MEET BLOOMINGDALES: SELLING PREMIUM RVS IN A RECESSION; Marketing chief Sue Dooley talks with Ad Age about doing more with less and raising the profile of these cherished silver rides BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 766 words

Seated in an $80,000 International Serenity Airstream RV, Sue Dooley is talking about stripper poles. Since the Airstream VP-marketing joined the company 18 months ago, she is looking to reconfigure its target demographic and elevate the status of the iconic company via partnerships with brands and celebrities like Mercedes-Benz, Bloomingdales, Matthew McConaughey and Steve Carell. (Thats where the stripper pole comes in; Pam Anderson once owned a tricked-out Airstream equipped with one.) To leverage a marketing budget under seven figures, Ms. Dooley, who comes from the footwear industry, is aiming to find the right partners. Its a delicate balance making sure we reach our consumer groups, Ms. Dooley said. So we look for partnerships that are going to help us move the needle within those groups. Ms. Dooley said Airstreams biggest competition comes from people looking for second homes or high-end adventure travel packages as well as old Airstreams. The company has around 300 employees, the majority of them working in its only manufacturing plant in Jackson Center, Ohio. Ms. Dooley met with Ad Age at an RV dealership in Lakewood, N.J., Airstreams most successful dealership in the U.S., to talk social media, providing better assistance to dealerships, the passionate RV community, partnerships and the connection between the RV market and the economy.

How bad was the RV market hit during the recession? The U.S. economy follows suit with the RV industry so we were hit very badly. Airstream is a luxury item and financing, not only for consumers but for our dealerships, proved to be a huge problem. What marketing adjustments had to be made? In the footwear and apparel background youre spending, on average, 8% to 10% of sales on marketing. In the RV market its 1% to 2%. Historically the industry has not spent a lot of money on marketing. It does work in aggregate on a campaign like Go RVing, which is put together by the Recreational Vehicle Association. But in general not many RV brands do a lot of marketing. Airstream, to some degree, is considered an exception. But when you look at those numbersAirstream being 1% of market share and then only spending 1% to 2% of sales-were not spending a lot on advertising. We spend our time on PR and partnerships and, something that I know has to be a higher priority for us, helping dealerships move units with real retail-driven marketing. What does your marketing mix look like? There is zero paid advertising. Theres a heavy influence of PR, a lot of partnerships and product placement is big. But its never a situation where we pay to have our products appear in a movie or TV show. People want our product because theres nothing else out there like it, so if they want it, well give it to them under the right circumstance but we dont do paid product placement. Is there an area youd like to increase your marketing efforts in, like digital? Something thats been absent for a number of years is an emphasis on digital. We are digitizing all of our consumer surveys and building databases so we can engage consumers digitally. Were also expanding our social-media mix. And were doing what we need to do to support our dealers in terms of creating a dealer network that has all of the information they need to effectively sell this product. Do Airstream and the RV industry have an image problem with people thinking the product may not be for them? Im sure there was at one point but its been pretty easy to tap into this group now, especially with the help of partner brands that allow us to elevate our status. Were a premium product three times the average retail price of a traditional RV and its a brand that attracts a unique consumer compared to the rest of the industry. However, on a macro level, people are returning to a sense of simplicity and doing whats important in their lives, like spending time with family. And that fits nicely with the RV lifestyle. What are the new demographics you are targeting? We have identified three consumer groups we want to target. The first are Romantic Roamers, who are retirees with the time and resources to travel. Second, which is the largest segment we are going after, are the Outdoor Adventurers. And third are the Cool Trippers, people who really appreciate the design sensibility of an Airstream and oftentimes are using our product for

nontraditional purposes like a guest house or mobile work studio. Its a fine balance to attract each of these people and try to keep them satisfied with our product and the type of offerings we create for them. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; BAGSTER BYLINE: BRADLEY JOHNSON SECTION: Pg. 30 Vol. 81 LENGTH: 400 words

SCOTT RHODES, DIRECTOR, ORGANIC GROWTH GROUP, WASTE MANAGEMENT Start with a bag. Make it big like a dumpster. Sell it at Home Depot. And have the nations largest waste-management company swing by your house to take it away. This is the simple premise behind Bagster, Waste Managements Dumpster in a Bag. Bagster is a tough, woven plastic bag that unfolds to 8 feet by 4 feet by 30 inches tall, big and strong enough to hold up to 3,300 pounds of home-renovation debris and trash-the right size for home renovations and cleanup projects. Bagster (thebagster.com) sells for $29.95 at home-improvement and hardware stores as well as

Amazon.com. When its full, a consumer goes online or calls Waste Management to pay for and schedule a pickup for $79 to $159, depending on the area-50% to 70% less than a dumpster rental. The Bagster idea came from a Minneapolis inventor who presented the concept to four franchisees of PODS, a service that provides big containers for storage and moving. The foursome bought Bagster in 2006 and raised $15 million to build the business. By 2009, Bagster was available in 14 states, said Scott Rhodes, one of Bagsters founders and a former investment banker. But to go fully national, he said, We knew it was going to take a lot more capital to take advantage of the first-mover advantages we thought we had. Enter Waste Management, which in 2009 bought Bagster and a similar venture in Canada. Waste Management, beginning in spring 2010, rolled out Bagster across the country and in most of Canada, supported by a cable TV, online and print campaign from WPPs G2, Chicago. Weve got a pretty Herculean effort to create awareness with consumers, said Mr. Rhodes, director of the Organic Growth Group at Waste Management. The good news is once people use it, they love it. Its not easy communicating the products limitations. For example, Bagster needs to be placed near curbside so a truck can reach it; one customer thought the company would go to the basement to pick it up. On Amazon, Bagster gets rave reviews for concept, but mixed reviews for customer service. Mr. Rhodes acknowledges awareness is still very, very low. But there are great opportunities for its first consumer product. Waste Management is exploring other potential Bagster applications, different size bags and-important for the companys green positioning-ways to recycle contents and bags. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010

AMERICAS HOTTEST BRANDS; BASS PRO BYLINE: THOMAS PARDEE SECTION: Pg. 20 Vol. 81 LENGTH: 363 words

JOHNNY MORRIS, CEO Few retail stores can say they also serve as theme parks, summer camps and community centers in their regions, but Bass Pro Shops has made itself an exception. Starting as a small display of bass baits less than three decades ago, the Bass Pro brand has grown to include 56 behemoth Outdoor World locations all over the U.S. and Canada, guided by CEO Johnny Morris. It also has a growing presence in TV, radio and publishing properties nationwide, and a marketing strategy that has turned its bigger-than-life retail footprint into an element of its brand identity. Bass Pro spokesman Larry Whitley said creating retail spaces that are veritable destinations is at the core of Bass Pro Shops expansion. When you enter the front doors, you go through turnstiles, Mr. Whitely told Ad Age earlier this year. Its because youre entering an attraction, not just a [retail space]. More than 110 million customers are expected to pass through those turnstiles this year alone, according to company estimates. What theyll find is 150,000-plus square feet of outdoor and lifestyle merchandise amid live aquariums, waterfalls, mounted wildlife and game, demonstrations all in a space thats designed and organized based on the region in which its located. During the summer, parents can take their kids to the free in-store Family Summer Camp, where they can try their hands at BB-gun shooting, archery, fishing, tent-pitching and bird-watching (and, of course, smore-eating). Bass Pro partners with several brands to host these integrated events, which help draw even more traffic into the store and put merchandise in the hands of consumers at crucial selling points. Kantar Media estimates the company spent more than $23 million in measured media last year, and sunk nearly $20 million as of August of this year. The company produces five different TV shows, which appear on Versus TV and the Outdoor Channel, a host of brand integrations and custom publishing deals, Nascar sponsorship with Daytona 500-winning driver Jamie McMurray and a thriving social-media presence-its number of likes on Facebook has nearly doubled to 588,948 in the past six months alone. LOAD-DATE: November 18, 2010

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; BEATS BY DR. DRE BYLINE: MICHAEL BUSH SECTION: Pg. 16 Vol. 81 LENGTH: 407 words

JIMMY IOVINE, CHAIRMAN, INTERSCOPE GEFFEN A&M Fuck sneakers, lets sell speakers. That was Jimmy Iovines reaction when his friend and multiplatinum recording artist and producer Dr. Dre told him his lawyer had just informed him that a sneaker company inquired about partnering on a shoe line. Nobody gives a shit what kind of sneakers you wear, Mr. Iovine, chairman of Interscope Geffen A&M records, remembers telling Dr. Dre after bumping into him on a California beach. The blunt conversation would eventually result in the launch of one of the hottest music accessories around: Beats by Dr. Dre headphones. Romantic start to the company, right? Mr. Iovine joked. Maybe not romantic but, like Mr. Iovine, it was right to the point. And aside from helping launch a line of headphones, it helped launch a crusade to fix the entire ecosystem of music, which Mr. Iovine describes as a disaster sonically. Understanding that the majority of societys entry into music was via portable devices such as iPods, Mr. Iovine said his and Dr. Dres goal was to create a headphone that would bring listeners as close

to the recording studio experience as possible. Over the past year, the high-end Beats headphones, which cost anywhere from $99 to $450, have slowly started replacing the ubiquitous white ear buds sold with iPods. Working with consumerelectronics accessories manufacturer Monster, the two cofounders spent two years perfecting the product. And, as is usually the case with anything related to the hip-hop industry, the headphones became a hot commodity through organic means. Everyone from Michael Phelps and the entire USA Basketball team to Lady Gaga and will.i.am was seen wearing the headphones. We arent buying a lot of ads, Mr. Iovine said. We market it our way. Were from the music business where you never get a lot of money to market. The approach is certainly working. In 2009, the first year the products were available, the company moved 400,000 pairs. This year it expects to sell 1.3 million pairs. Beats is also the top-selling headphone in the 17-to 35-year-old demographic. But Mr. Iovine and Dr. Dre arent stopping at headphones. The two are now working with Hewlett Packard and will be releasing 5 million PCs equipped with HP Beats Audio inside. Beats also has partnerships with Apple and Best Buy and has had artists and celebrities such as P. Diddy and LeBron James design their own line of Beats headphones. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; BUICK BYLINE: RICH THOMASELLI

SECTION: Pg. 14 Vol. 81 LENGTH: 294 words

CRAIG BIERLEY, ADVERTISING AND PROMOTIONS DIRECTOR, BUICK AND GMC One of Americas Hottest Brands of 2010 used to be a hot brand in 1910.And for about 80 more years after that.General Motors Co.s Buick model was one of the standards of the industry. But as it grew, so did the average age of its owner. For the last two to three decades, Buicks became synonymous with Grandpas car, and when GM reorganized following bankruptcy last year, critics were skeptical as to why the automaker was keeping the Buick brand and shuttering Saturn, which was arguably more appealing and more of an import-fighting brand. But buoyed by Buicks success in China, GM transformed the brand and repositioned it for a different audience. As a result, Buick is the fastest-growing major automotive brand in the U.S., posting its 13th consecutive month of year-over-year retail sales gains in October with a 36% increase. Total Buick sales are up 39% compared to the same period a year ago and 55% year to date. Its a 102-year-old brand, and, in many respects, we were successful in targeting a specific demographic, said Craig Bierley, advertising and promotions director for Buick and GMC. We developed big, quiet, safe rides for Americas greatest generation, and we were rewarded with a lot of business. The problem is, we grew complacent with that. Most car experts and analysts believe GM got it right with the Buick Enclave, Lacrosse and the Regal GS that is causing much buzz and will make its debut at the Los Angeles Car Show next week. We want to take this brand to a more contemporary, more progressive place, Mr. Bierley said. We dont see a lot of other advertisers speaking to this market or this audience. Theyre trendsetters. Thats who we want to be involved in. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; BURBERRY BYLINE: TERESSA IEZZI SECTION: Pg. 22 Vol. 81 LENGTH: 422 words

CHRISTOPHER BAILEY, CHIEF CREATIVE OFFICER Fashion brands do a few things well (make beautiful clothes, create fantasies to stoke consumerism, help prop up the champagne, cigarette and weight-loss industries), but understanding technology and the way people actually behave in the real world havent traditionally been among them (see: spring collections showing in early fall, when shoppers are primed for heavy sweaters). That has made Burberry, under Chief Creative Officer Christopher Bailey, stand out all the more as one of the brands that has been a beacon of whats possible in the fashion realm. The company, launched in 1856, literally invented the trench coat and, over the years, achieved status as a classic British brand on the back of its iconic outerwear. By the 90s, it had fallen out of the fashion circuit. But a turnaround starting in the late 90s was perhaps too successful. Every luxury brand balances revenue-pumping accessibility with maintaining high-end cachet, and by the end of the logo-mad 90s, Burberry had taken quite a nasty spill over that edge. Mr. Bailey, who joined Burberry as creative director in 2001, started work reclaiming the brand from vulgarians. Dialing back the check, he mined the aristocratic brand vibe, while applying a modern sensibility. By 2009, after several critically acclaimed collections, Burberry was at the top of its game; it won Designer Brand of the Year at the 2009 British Fashion Awards, and Mr. Bailey was honored as designer of the year. The fall 2010 Prorsum collection, which tapped the companys military roots and launched a thousand luxe shearling copycats, was a massive hit. For 2009-2010, the company reported total revenue growth of 7%, to 1.3 billion pounds, with a 19% increase in retail sales. Along the way, Mr. Bailey orchestrated some fresh marketing initiatives that only fueled the sense of modern energy around the brand. In 2009, the company harnessed social media and fashion tastemakers for Art of the Trench, a website

where people could share photos of themselves rocking their favorite trench and comment on other looks. In early 2010, Burberry, working with BBH, London, live-streamed its fall show in 3-D. In June, the company showed off the autumn/winter 2010 collection with an interactive ad campaign that allowed viewers to navigate 180-degree views of fashion video, the products and models. For its spring 2011 collection, the brand once again live-streamed its fashion week show, and also screened it at 25 of its global flagship stores. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 Lessons from London: CaT conference recap; Finding new ideas in the past while keeping up with the future BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1043 words

The Creativity and Technology conference in London last week featured digital artists, technology startups, digital agency execs and, yes, a cameo by a magician. While the conference covered a number of the digital trends du jour, including how interactive meets the physical world through mobile, iPad apps, gestural interfaces in gaming and social media, some surprising themes emerged. PRINT CAN INDEED BE INTERACTIVE

Even at a conference dedicated to technology, a new approach to print media was a consistent thread. The first speaker, Jack Shulze, partner and director of new product development at design firm Berg, London, talked about how old media, such as print, can be transformed to distribute information such as hyperlocal news and social media in new ways. Print can suddenly be very quick and highly local and social, he said. And thats without any new pixels or technology. Think of print in new ways to serve media to old places. He shared his firms prototype of coffee-shop receipts that include news updates or the name of a locations current Foursquare mayor. Later, Dentsu London Strategy Director Beeker Northam cited newspaper work from a sibling agency in Japan that converted a print ad in Asahi newspaper into an animation when lined acetate passed over it. Dentsu London mimicked the zoetrope technique for a cover of Wallpaper magazine. There are magnificent bits of infrastructure just lying around. Its not just about creating new things and tech all the time, Ms. Northam said, quoting Russell Davies. NEW TECH IDEAS CAN BE FOUND IN THE PAST Despite working at companies on the bleeding edge of design and production, a number of speakers recognized the importance of rooting tech thinking in the past. We like stuff that is like stuff we already know, said Perry Price, innovation director of agency Dare Digital. He cited his agencys painting app Remote Palette, which turns an iPhone into a palette that interacts with an iPad as a canvas. Bergs Mr. Shulze showed the audience evidence of so-called new tech trends, such as augmented reality, from as far back as 1905. He presented old-timey photos of Chicago written over with directions to a hotel; today, augmented-reality apps deliver the same service of overlaying pictures with information but through a phone camera, not still picture. THE CONSUMER DOESNT DISTINGUISH BETWEEN DIGITAL AND TRADITIONAL Iain Tait, global interactive creative director for Wieden & Kennedy, was one of the more grounding speakers of the day. To show how far off real digital thinking is for agencies and brands, he picked apart the distinction between traditional and digital advertising that currently rule marketing and agency structures. He knocked the notion of post-digital, saying that we are only at the very start of our digital capabilities. Not that it matters to the consumer. Digital and traditional for the ordinary person is all the same thing, said Mr. Tate. Its all things they consume. In agencies and client organizations, people still dont understand this. The agency of the future will have to combine both digital product and the TV-spot storytelling agencies like his have made their names on. The modern agency has two products: stories and software, he said.

HOW DO WE DO ALL THIS? PLAY So how does the typical agency worker drive her mind through the intersection of creativity and technology? By letting go and playing with it. Digital artist Stewart Smith, founder of art studio Stewdio, said a key element of his work included playing with media and how we use everyday pieces of technology, such as the web browser, to create his art. With browsers, he recreated the popular tennis game Pong in the space between open windows and called it Browser Pong. Mr. Tait suggested we all sit down with an Xbox, Wii or PlayStation for a little market research. Console games are a good example of the narrative storytelling were used to in TV commercials coming together with interactive. Mass-market gaming consoles like Nintendo Wii and the recently released Xbox Kinect, a controllerless gaming device, mean that its not just teen boys with those high levels of interactive expectations. With games that use movement to play, the category opens up to everyone. THINK OF MARKETING LIKE FARMING. Mr. Tait also discussed the idea of brand gardening. Because marketing ideas last longer in-and can be amplified by-social media, we need to be more careful. Its a bit like farming, he said. You cant do anything untoward in the environment and expect that next year everything is going to be fine again. Youre going to have to sit with shit ideas for months and months and youll have to pay the consequences. Youre now held to account for a long time and thats a really positive thing. TECHNOLOGY WORKS FOR EVERYONE, NOT JUST YOU When we think of technology, we often only think about the urban-dwelling, young early adopter. But Liz Lawley, director of the Lab for Social Computing and associate professor of interactive games and media for Rochester Institute of Technology, made a plea for the rest of the U.S. between New York and San Francisco. She specifically turned to Foursquare. You have to expand to people who dont look exactly like you. Geographically neglected populations can ramp up usefulness. When Foursquare opened up outside the big cities, usage rocketed-but it was founded by people who star in Gap commercials. Whats next is taking amazing stuff and expanding it to people who dont look just like you, she added. CHANGE IS CONSTANT Director Chris Milk, who was responsible for interactive music videos The Johnny Cash Project and The Arcade Fires Wilderness Downtown from Google Labs, stressed how different videos from the web need to be from TV videos. The problem with music videos is people are still directing them for TV, he said. The internet is

revolutionizing the genre. He revealed that he is working on a project with Norah Jones, Jack White and Dangermouse that moves the narrative through multiple media points. The team is creating a piece of work that starts on the internet, moves onto a concert or opera and finishes with a feature film that will show in movie theaters. CONTRIBUTING: EMMA HALL LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; CROC BYLINE: E.J. SCHULTZ SECTION: Pg. 16 Vol. 81 LENGTH: 375 words

SEAN DIDDY COMBS, CHIEF MARKETING OFFICER-BRAND MANAGER Made in France, Croc vodka has what importer Diageo likes to call liquid credentials-it is one of the first vodkas made from fine French grapes, mauzac blanc and ugni blanc, and it is distilled five times. But what really sets this brand apart are its street credentials. Sales have skyrocketed since Diageo in 2007 partnered with hip-hop mogul Sean Diddy Combs,

who has described himself as a hybrid brand manager, chief marketing officer and spokesman. In the African-American community, he has a lot of influence, said Megan Metcalf, editor of Wine & Spirits Daily. He did a good job of reaching out to them, and from there it sounds like they had more Anglos in other markets jumping on board. Sales jumped 41% to $6.8 million in the year ended Oct. 3, according to SymphonyIRI, which excludes Walmart, club and liquor stores, and bars and restaurants. Diageo says the brand grew 552% from 2007 to 2010 and has replaced Belvedere as the second-ranked vodka in the ultrapremium category. Demand has surged this year partly in response to Crocs first line extensions, which include coconut-and red-berry-flavored vodkas. But it all still goes back to Diddy. Before him, Diageo used to focus on the grape, said Jon Dobbin, a senior VP at MediaCom, the brands media agency until January, when Diageo will hand duties to Aegis Carat. That whole grape story just didnt work, because nobody really cared. It didnt carry around enough cachet. Rather than targeting the herd, MediaCom focused advertising on a key group of influential people, executives said, and ran ads almost exclusively on a handful of networks including Bravo and E!, plus publications such as Vibe and Hip Hop Weekly. Ads also target more traditional upscale audiences, including buys on Plum TV, a resort network shown in Aspen, Nantucket, the Hamptons and Miami Beach that goes for an active, influential and educated demographic. The brand has positioned itself as the Official Vodka of New Years Eve, and has sponsored redcarpet telecasts at award shows. Diddy set the tone early, telling Ad Age in 2007 that Ive branded myself as the king of celebration, and thats what this alliance is all about. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AS FOR CONAN, HE WHO LAUGHS LAST BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 916 words

Conan OBrien looks to be having the best laugh. After all the hype and months of speculation over Mr. OBriens move from NBC to cables TBS, the late-night Conan show is being viewed as an early success with both viewers and advertisers, and in fact, could change the dynamic of the late-night ad marketplace. Hes bringing in really young viewers. The median age is over 20 years younger than that of people who tune in to rival shows on broadcast, said Amy Sotiridy, senior VP-director of national broadcast at Interpublic Groups Initiative. Mr. OBriens first show drew around 4.2 million viewers, nearly 3.3 million of which were between the coveted ages of 18 and 49, according to Nielsen. Based on early results provided by TV networks, the debut episode of Conan did better than the normal airings of The Tonight Show with Jay Leno on NBC, The Late Show With David Letterman on CBS and The Daily Show and The Colbert Report on Comedy Central. Mr. OBriens numbers started to dip as the week progressed. His second show reached about 2.8 million viewers on Tuesday (2.1 million between 18 and 49) and his third reached about 2.7 million viewers Wednesday (1.86 million between 18 and 49). Ad buyers suggest the success of Conan wont make them abandon broader-skewing late-night offerings on NBC, ABC and CBS, but the new show does put another option in front of them that could draw important ad dollars away from those places. In other words, the shows launch has them thinking about how to parcel out ad spending among various audiences-a notion that would never have held sway when Johnny Carson sat on this timeslots throne. The successful launch really changes the dynamic of the late-night day part in terms of what the priority programs are, said Jay Baum, executive VP-director of national buying at Deutsch Inc. Over the years, he added, late-night audiences on broadcast have gotten older and the ratings have come down. Now you have all these high-profile programs on the cable landscape that are skewing younger.

Early viewership for Conan doesnt indicate the normal performance for the show. For that, ad buyers say, theyll likely wait several weeks to see how audience patterns settle. Some portion of the first weeks audience is tuning in out of curiosity, they suggested, not because watching Mr. OBrien is a long-developed habit. And rivals are watching. At Viacoms Comedy Central, the consensus is that The Daily Show and The Colbert Report have a tie to popular culture that is unparalleled, said Steve Albani, senior VP-corporate communications, Comedy Central, so that once the dust settles and the sampling is over, were confident that our guys will be doing just fine. With the first results out, however, ad buyers believe Mr. OBriens program will provide another place for marketers to find their most elusive quarry: young men. The truth is, for the data that is there, its looking good, said Elizabeth Herbst-Brady, president at Interpublic Groups Magna Global. The hosts new backer, Time Warners Turner cable unit, sees early positives. Premiere night and premiere week were sold out back in October, with very strong demand throughout fourth quarter and into first quarter, said Turner spokeswoman Jennifer Toner, via email. Advertisers who aligned themselves early with Conan included AT&T, which not only ran ads during the first week of the show, but sponsored a promotional Conan blimp that appeared during TBSs recent telecasts of post-season baseball. AT&T declined to comment on Mr. OBriens first-week performance. Establishing Mr. OBriens value is crucial to Turner. The cable unit has been adding to its programming lineup, part of a broader effort to give advertisers fare that attempts to mimic broadcasts reach at more attractive prices. Turner has added several dramas to its TNT network, snatching up cult-favorite cop show Southland after NBC dropped it last year, for instance, and launching programs such as Rizzoli & Isles and Men of a Certain Age to complement its longrunning The Closer. More importantly, Turner also formed a joint effort with CBS to show a good chunk of the NCAA mens basketball championships across its many cable outlets. To work, Conan doesnt have to reach the most viewers-just a good portion of the ones marketers want so badly. Mr. OBriens first week of programs reached an audience with a median age of 32, Turner said in a statement Friday. The first week of Conan averaged around 1.5 million adults between the ages of 18 and 34, about 2.2 million adults between 18 and 49, and around 2.9 million viewers overall. The host and the network clearly made outreach to marketers early in their launch efforts. Last week, News Corp.s 20th Century Fox ran ads for its Unstoppable action movie that mentioned the host by name. General Motors is expected to use Conan to promote its Chevrolet Cruze the week of Nov. 15, with details likely to be announced during the show. Microsofts Bing search engine and AT&T are expected to be featured with the program in the near future, according to a person with knowledge of the matter. In his first week, Mr. OBrien made plenty of swipes at his diminished roost on cable, and these are likely to continue. Weve been having a great first week here at TBS, he said in his monologue on Thursday nights show. But if this doesnt work out, you can catch me next fall on my new VH1

show, Coning for Love. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; DALES PALE ALE BYLINE: E.J. SCHULTZ SECTION: Pg. 22 Vol. 81 LENGTH: 393 words

DALE KATECHIS, FOUNDER, OSKAR BLUES BREWERY Craft beer in a can? It was too far-fetched for anyone to really believe, even in our industry, that someone would put a full-flavored, hoppy beer in a can, said Dale Katechis, recalling the 2002 launch of Dales Pale Ale. Some people laughed it off. They arent laughing anymore. The beer, first made as a home brew by Mr. Katechis while in college, is one of the hottest beers in the sizzling craft category. Mr. Katechis company, Colorado-based Oskar Blues Brewery, pumped out 29,500 barrels of beer

last year, up from 17,900 the year before, and is on pace to produce 44,000 barrels this year. Oskar Blues cant make enough of the stuff. The brewer, which sells Dales Pale Ale along with five other can varieties in 26 states, typically sells out every summer. The company recently invested $1 million in new tanks in hopes of making 70,000 barrels next year to meet surging demand. It all started in Alabama in the late 80s, when Mr. Katechis began experimenting with home brews while attending Auburn University. He refined Dales Pale Ale over the years and began selling it in 1999 in a restaurant he opened in tiny Lyons, Colo. Mr. Katechis began canning it in 2002-literally one can at a time-as a way to publicize his restaurant, Oskar Blues Grill and Brew. Wed just load up the van or RV or the truck and go to a music festival or go to an outdoor biking event, said Chad Melis, a professional mountain biker whom Mr. Katechis hired as the brewers marketing director. Beer enthusiasts, used to drinking sophisticated crafts in bottles, were skeptical. Oskar Blues changed their minds one can at a time, Mr. Melis said, by emphasizing the can advantage, which he says includes less exposure to light and oxygen, potential taste-ruiners. The trend caught on and at least 100 craft brewers now sell in cans, said Julia Herz, of the Brewers Association. The brewer now has 80 distributors, 220 employees and annual revenue of more than $20 million. Its distribution network mostly covers Colorado, the South and the coasts, and includes bars and retailers such as Whole Foods and BevMo. Mr. Katechis said his biggest challenge is keeping the brewers rebellious soul while it grows. Were the scrappy little guy that took a lot of risk, he said. We kind of did it while we were flipping everybody else off. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; DOS EQUIS BYLINE: E.J. SCHULTZ SECTION: Pg. 20 Vol. 81 LENGTH: 321 words

PAUL SMAILES, BRAND DIRECTOR One man is largely responsible for the rise of Dos Equis, the Mexican import that is bucking slumping beer trends on its way up the sales charts. That man is, of course, The Most Interesting Man in the World. In real life, he is journeyman actor Jonathan Goldsmith, whose previous claim to fame was spot roles in TV shows such as Charlies Angels and Knight Rider. He got the Dos Equis gig in 2006, first appearing in targeted ads in 2007 as a James Bond-like character whose coolness knows no bounds. The campaign by Euro RSCG went national in 2009 and is now firmly entrenched in the national consciousness, spawning copycat ads by everyone from politicians to the owner of a Chicago rib joint. For Dos Equis importer Heineken USA, the campaign has meant big sales at a time when other beers are struggling to battle the headwinds of a recession and competition from smaller craft brewers. But the campaigns conceit carried some risk. Using a grey-haired, bearded man as a spokesman was an unlikely move in the beer business, where young-adult drinkers are the coveted demographic. We needed to ensure that the campaign we rolled out was going to break through, said Paul Smailes, Dos Equis brand director. Through consumer research, what we found out was that import drinkers were sort of tired of the clichs and sophomoric humor that are the staple of the category. Shipments grew nearly 20% in 2009, outpacing Corona Light, which grew by 3.6%, and Corona Extra, which dropped 9.8%, according to Beer Marketers Insights. Sales growth is occurring across all demographics, including whites and Hispanics, Mr. Shuhmacher said. Its got a good price point, he said. Its cheaper than Corona and still very drinkable. Heineken continues to boost advertising on the brand, with measured media spending this year on pace to surpass 2009s total of $22.5 million, which more than doubled from 2008. LOAD-DATE: November 18, 2010

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; DROID BYLINE: KUNUR PATEL SECTION: Pg. 14 Vol. 81 LENGTH: 446 words

JOHN HARROBIN, VP-MARKETING COMMUNICATIONS AND CRM Since Verizon Wireless launched its line of Droid phones, Googles entire Android smartphone platform has seen explosive growth. The No. 1 wireless carrier launched its first Droid device, built on Googles mobile operating system Android, last November. At the time, Android was barely making a ripple in the U.S. smartphone ecosphere. By December, a month after Verizon launched an estimated $100 million marketing push for Droid, Androids total share rocketed to 5.7% and Android dethroned iPhone as the fastest-growing platform. By the latest available numbers, after a handful more Droid-branded smartphones such as Droid X and Droid Incredible have come out, Android is still the fastest-growing platform. By September 2010, Android had 21.4% U.S. smartphone share, 15 times what it was before Droid hit the market. Theres millions and millions of Droids sold, said John Harrobin, Verizon VP-marketing

communications and CRM, who could not release specific sales numbers. Thats our primary success metric. There are also market-share gains and customers in our base that are upgrading to smartphones and paying more fees. Were growing share of wallet-Droid has won on all that. Mr. Harrobin wont pin Androids impressive surge entirely on Droid, though-after all, other carriers have their own Android-powered phones. Because of that, Verizon decided to create its own brand of Android phones, which the No. 2 U.S. advertiser by revenue lavished with ample marketing. We wanted an alternative to iconic smartphones in the marketplace, Mr. Harrobin said. (One year ago, much like today, that device was iPhone.) The Android platform had existed for some time prior to us launching, but we worked closely with Google and Motorola to get the best and brightest features of Android. To do that, we needed a moniker of our own. With its Droid brand, Verizon has been able to develop handsets with a number of partners and cherry pick the best from each. Its the Verizon network that can bring the Droid name and all the innovation at Google, said Mr. Harrobin. Samsung, Motorola, HTC-all the different [manufacturers] compete to be named Droid. Verizon Wireless agency McGarryBowen alludes to Droids Star Wars connection by playing up science fiction and robot-laden imagery in ads for the new handsets. Regardless, that very intentional aim at young, male, early adopters doesnt seem to have alienated other demographics. We needed to win [early adopters] or wed never have won in other segments like women and older people, Mr. Harrobin said, adding that Verizon is seeing growth beyond just young males. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010

AMERICAS HOTTEST BRANDS; FORD BYLINE: BRADLEY JOHNSON SECTION: Pg. 20 Vol. 81 LENGTH: 325 words

MARK FIELDS, EXEC VP OF FORD MOTOR CO. AND PRESIDENT OF THE AMERICAS Ford Motor Co. was Ad Ages 2010 Marketer of the Year, so it was an easy call to name Ford one of Americas Hottest Brands. But Fords turnaround is a complex story of doing many things right: an appealing product; high quality, innovative marketing; gutsy financial moves; and a focus on the companys core brand. We want hot product plus cutting-edge marketing to equal Ford is a cool brand, said Mark Fields, exec VP of Ford Motor Co. and president of the Americas. The formula is resonating with consumers: The Ford brand this year grabbed the No. 1 spot in U.S. auto/light-truck market share, up from No. 3 (behind Toyota and General Motors Chevrolet) in 2008. The brands year-to-date sales jumped 23%, double the industry growth. Ford generated attention-and goodwill-when the company declined to take a U.S. government loan during the dark days of 2008, even as Washington was bailing out GM and Chrysler. Two years later, that gutsy move is still paying dividends: Fifty-five percent of Americans say they are more likely to buy a Ford because the company didnt seek a bailout, according to a September survey by Rasmussen Reports. But the Ford turnaround was mostly built on a better product. Ford Fusion, its top-selling car, scored as the highest-ranked midsize car in J.D. Power and Associates 2010 APEAL Study, which examines how appealing a vehicle is to own and drive based on owner evaluations. Motor Trend named Fusion its 2010 car of the year. Consumer Reports rated the 2010 Fusion as the most reliable family sedan, beating Toyota Camry and Honda Accord. (Consumer Reports ranked Ford overall as the most reliable domestic brand, scoring just below Toyotas Lexus.) Ford is the focus. The company has sold off Jaguar, Land Rover and Volvo, and its shutting Mercury. That leaves just two brands in the garage: Ford (more than 90% of sales) and luxury marque Lincoln. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; GILLETTE FUSION PROGLIDE BYLINE: JACK NEFF SECTION: Pg. 26 Vol. 81 LENGTH: 362 words

MICHELLE POTORSKI, ASSOCIATE MARKETING DIRECTOR, GILLETTE MALE SHAVING NORTH AMERICA Through decades of ever-higher blade counts and inevitable ad parodies, Gillette ads never directly acknowledged growing consumer skepticism about its razors. And the brand once guarded new products prior to their launch like the Defense Department treated new weapons systems. Those things changed big time as Procter & Gamble Co. this year launched Gillette Fusion ProGlide, its most expensive razor ever, into the maw of a deep recession and after a two-month head start for rival Energizers Schick Hydro, a new system priced below existing Gillette products. In April, as Hydro was hitting stores, Gillette was handing out samples of ProGlide razors to bloggers. It was also corralling men on the street (or in locker rooms) to have them try impromptu shaves with the new razor. Some of those product trials were used in ProGlides Turning Shaving Into Gliding and Skeptics Into Believers TV and online ads from Omnicoms BBDO and Proximity BBDO. And it all helped ProGlide get off to a fast start despite the economy and strong competition. While its still early days, ProGlide sent Gillettes razor sales up 43% in the third quarter and its already commanding share up 3.4 points to 67.7% in the third quarter, according to SymphonyIRI data from Deutsche Bank. Schick, in the first full quarter of competition between Hydro and ProGlide, saw system sales surge 35% but still lost 0.1 share point. Repeat purchases of highly profitable cartridges ultimately will be the key test, but P&G Chairman-

CEO Bob McDonald said last month that P&G is selling three ProGlide cartridges for every one razor, while Hydro is only selling about one cartridge per razor. ProGlide had 76% brand awareness in August, 10 points ahead of forecast and 11 points ahead of the original 2006 Fusion launch. We put the campaign in the hands of the people, leveraged some skepticism and tackled it, said Michelle Potorski, associate marketing director for Gillette male shaving in North America. Instead of Gillette telling people it was great, we asked people to try it and leveraged the social-media space. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; GLEE BYLINE: ANDREW HAMPP SECTION: Pg. 14 Vol. 81 LENGTH: 432 words

KEVIN REILLY, PRESIDENT OF ENTERTAINMENT, FOX When Fox premiered the pilot episode of Glee after the season finale of American Idol in May 2009, it was seen as an overly bold attempt to build a fan base for a show that wouldnt officially premiere for another four months. A mere 18 months later, not only has Glee become a hit series that can draw big audiences without the aid of Idol, but its also become a bona fide pop-culture

phenomenon not seen since, well, Idol. Created by Ryan Murphy (creator of Nip/Tuck and director of this summers Eat Pray Love), Glee was deemed a tough sell to mainstream audiences-a scripted musical drama (a formula that didnt bode so well for Cop Rock or Viva Laughlin) that tackled weighty issues such as teen pregnancy, homosexuality and Down syndrome. But Glees own success story has mirrored that of its high-school characters plotlines by overcoming its misfit status against all odds. On TV, Glee has become the rare show that continues to draw new viewers each week, but the music charts are where the franchise really shines, with Glee songs regularly debuting in the iTunes top 10 the morning after new episodes air and sales of more than 16.3 million downloads and counting. Three Glee albums distributed by Columbia Records have also charted on the Billboard 200, with one going platinum, two already certified gold and collective sales of 5 million copies. Kevin Reilly, Foxs president of entertainment, credits Mr. Murphy for the shows singular vision and ultimate success. His fingerprints are very much all over it, and he touches every aspect of the show, Mr. Reilly said. If you can connect with that vision and market it, its an extraordinary thing. Advertisers have also lined up to be involved with the show, from American Express to Ford Fiesta to Unilevers Dove Go Fresh body wash. Glees upcoming Super Bowl episode will receive extensive sponsorship and exclusive content from General Motors, which has been involved with the show since its launch. Foxs marketing president, Joe Earley, also helped devise a branding campaign encouraging fans to call themselves Gleeks. Twentieth Century Fox Television, the studio that produces Glee and helped package its music and licensing deals, has also seen a halo effect in other Glee consumer products including two successful DVD releases of both halves of the shows first season, merchandise lines at Macys and Claires stores, an iPhone app with more than 1 million downloads and a just-released Karaoke Revolution video game for the Nintendo Wii. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; GROUPON BYLINE: RUPAL PAREKH SECTION: Pg. 20 Vol. 81 LENGTH: 427 words

ROB SOLOMON, PRESIDENT AND CHIEF OPERATING OFFICER Everyones going gaga for Groupon. The Chicago-based online company started 2010 with 125 employees and today counts more than 2,500 staffers worldwide who arrange, write and send its deals-of-the-day emails to an exploding subscriber base. In less than a year, Groupon swelled from 3 million subscribers in the U.S. to 25 million subscribers in nearly 30 countries around the world, including Mexico, Brazil, Japan, Russia and Argentina. While Groupon started out as a way for consumers to find neighborhood deals on manicures and pilates classes, it fast attracted interest from blue-chip marketers looking to goose sales using flash coupons. September marked Groupons first national promotion, a partnership with Gap that sold 445,000 coupons for a total of $11 million. There are more national partnerships with retailers, restaurants and travel companies to come, and its not stopping there. At some point, much like we did the national blitz, I think youll see some global blitzes over the coming year with major multinational brands, said Rob Solomon, Groupons president-chief operating officer. Mr. Solomon credits Groupons rapid success in part to merely being the first to devise the idea of collective buying online to negotiate discounts on products, services and entertainment. Theres a first-mover advantage that really helps you, he said. Until Groupon came along, there wasnt this phenomenon to [create something online that] moves hundreds of thousands of units in the physical world. We definitely struck a chord with a brand that resonates with small business and consumers, and were solving problems for both of them. Also spurring popularity is the social nature of each offer; subscribers are encouraged to share promotions with family and friends, and many of the deals are not only for products but experiences. The success of Groupon is inspiring a crop of imitators, including Walmart, which recently launched a Facebook-based app called Crowdsaver that unlocks discounts once products get enough likes. Groupon has built its brand organically, via advocates endorsing the service by word-of-mouth and online, but sometime in the near future there may be traditional advertising techniques. The next

level of extending the brand is traditional offline media and techniques to build the brand, said Mr. Solomon. If you look at the great iconic brands that have been built on the internet, they all go through that transition and I think well go through a similar progression. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; THE HUNGER GAMES BYLINE: THOMAS PARDEE SECTION: Pg. 24 Vol. 81 LENGTH: 433 words

SUZANNE COLLINS, AUTHOR, THE HUNGER GAMES TRILOGY For a young-adult novel to find Harry Potter-level success is a feat often attempted but rarely achieved over the past decade. (Anyone remember A Series of Unfortunate Events?) But if any teen-lit franchise shows the potential to reach the critical mass of teen-wizard and vampire proportions, its Scholastics Hunger Games series, which-tellingly-is about to get the film treatment. The trilogy, by veteran fantasy novelist Suzanne Collins, tells the post-apocalyptic story of a nationally televised tournament in which children are selected to battle to the death. It features a young female protagonist (who does more than pine and pout), quick pacing and, amid the

descriptions of violence between children and teens, touts a strongly anti-violence message thats ringing true with readers of all ages. [Its] one of those properties that crosses all boundaries, said David Levithan, executive editorial director at Scholastic. Some readers will latch onto the horrific scenarios, others will latch on the dystopian war story, the love story, the evolution of the characters, the sci-fi aspects. No two people will have the same experience with the [story], much like Harry Potter. The third book in the series, Mockingjay, was released in August and moved 450,000 copies in its first week on shelves, topping the USA Today and New York Times best-seller lists-and done without any of the relentless get-the-word-out marketing ploys used to promote its predecessors. There are now nearly 7 million copies of the series in print in the U.S. alone, with dozens of other countries releasing editions of their own. Since the first installment was published in September 2008, the trilogy has spent more than 100 consecutive weeks on The New York Times best-seller list. Despite the success of the books, the Hunger Games brand is still in the infancy of its real growth. Lionsgate Entertainment, which snagged rights to adapt the books last year, is expected to announce a cast and director in the coming months and should be in production on the first film in early 2011. Striker Entertainment, the licensing agency working with Collins to create a line of teen-friendly Hunger Games items, has so far laid a conservative stake in a market brimming with demand. Its small line of T-shirts, key chains, jewelry and other items have sold well in specialty shops and book stores, but it wont be until the films gain traction that the real expansion will begin-and even then, keeping the brand high-end and cool will be essential. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010

AMERICAS HOTTEST BRANDS; HYUNDAI BYLINE: BRADLEY JOHNSON SECTION: Pg. 18 Vol. 81 LENGTH: 451 words

JOHN KRAFCIK, PRESIDENT-CEO, HYUNDAI MOTOR AMERICA One year ago, Ad Age named Hyundai the 2009 Marketer of the Year. Hyundai kept rolling in 2010, with year-to-date U.S. sales jumping 21% (twice the industrys growth rate). Factor out fleet volume (such as rental fleets), and Hyundais retail sales to consumers are up a whopping 29%. Hyundai built on its reputation for value during the downturn, propelling the brand to the No. 6 selling nameplate in 2010 from 10th place in 2007 (when the recession began). Dont confuse good value with bad cheap. True, the South Korean automaker entered the U.S. 25 years ago with its $4,995 Excel, notorious for its quality problems. As recently as 2001, Hyundai ranked 32nd out of 37 brands in J.D. Power and Associates Initial Quality Study. But Hyundai has made remarkable strides in quality. Hyundai ranked third among non-premium brands, behind Ford and Honda, in J.D. Powers 2010 quality study. Consumer Reports rated Hyundai just below Toyotas Lexus and Ford in predicted reliability for 2011 models. Still a skeptical consumer? Hyundai Assurance-a 10-year warranty, roadside assistance and the ability to return the car if you lose your job-is intended to give customers more confidence in the brand. Hyundai Assurance kind of completes the brand, said John Krafcik, Hyundai Motor America president-CEO. Consumers are taking notice. The automakers Uncensored campaign-local test-drive events; unscripted comments of consumers on TV spots, YouTube and Facebook-is prompting more prospects to check out Hyundai. A record one in three U.S. consumers this year said they would consider buying a Hyundai, according to the GfK Barometer of Automotive Awareness and Imagery Study. The number of Hyundai searches at auto websites is growing, and web traffic to Hyundai.com has broken records this year. Hyundai has more good stories to tell-including creating American jobs. Hyundai expects U.S. factories to build about two-thirds of Hyundais sold in the U.S. in

2011.
But its product that is driving sales. Hyundais top seller, the redesigned Sonata, has been a hit among auto critics and consumers, making Hyundai a contender in the hotly competitive market for family sedans. Hyundai has moved upmarket with its sleek Genesis (average transaction price: about $37,000). Next month, the company takes on Mercedes-Benz and other premium brands with the Hyundai Equus, a luxury sedan with a starting price of $58,000. Will Hyundai succeed in selling luxury under its mainstream brand at stores that sell the $9,985 Hyundai Accent? Hyundai once again is breaking the rules. But its this kind of gutsy move that makes Hyundai such an intriguing marketer to watch. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; IPAD BYLINE: BETH SNYDER BULIK SECTION: Pg. 27 Vol. 81 LENGTH: 328 words

PHILIP SCHILLER, SENIOR VP-WORLDWIDE PRODUCT MARKETING

From the moment the iPad was announced in January, the sleek touch tablet has generated headlines, spurred competitors own pad-product development and marketing, and grabbed an early market share lead in the emerging category. The multimedia device so captured consumers attention this year that the first million were sold in less than a month after its April debut to make it the fastest-selling product at launch in Apples portfolio. Philip Schiller helms marketing for Apple, but he has had help from other executives in the iPads marketing efforts. CEO Steve Jobs has been vocal during presentations about iPads success, predicting that the iPad and its tablet brethren will eventually replace PCs. Apple design guru Jonathan Ive also stepped out from behind the shadows to serve as a key figure in an official iPad video. Mr. Schiller appears in it as well, promising that Its going to change the way we do the things we do everyday. He may well be right. The iPad, with some 8 million already sold, has spurred a touch-tablet tempest as PC and phone makers-and even some business-to-business tech players such as Cisco-are rushing to add a media tablet to their portfolios. Post-iPad, media tablets are now expected to become a $21 billion business by 2014, a significant increase from less than $1 billion last year. Apple has invested heavily in marketing the iPad, with $67 million spent in paid media on iPad alone from its launch through August, according to Kantar Media. Then theres its impact on marketing. Just the design of the iPad has influenced all of display advertising, while Apples iAd platform supercharged the mobile ad industry simply by its announcement. And then there is this: A recent Nielsen study found that iPad owners are not only more receptive to advertising, but more likely than other mobile-connected device owners to make a purchase after viewing an ad on their iPads. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 What to expect as News Corp. dives into business of education; Hiring of ex-schools chancellor Klein signals interest in paid-content curriculum BYLINE: NAT IVES; nives@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 943 words

Are you ready for News Corp. to help teach your children? Hearst Magazines Chairman Cathie Black got most of the attention last week when she was named the next New York City schools chancellor, succeeding Joel Klein as the head of a $23 billion publiceducation system with 1.1 million students. But Mr. Kleins new job at News Corp., advising chairman-CEO Rupert Murdoch on getting into the education industry, may eventually prove more captivating, both for education and the media business. Ms. Black, after all, is going to build on eight years of work by Mr. Klein and Mayor Michael Bloomberg, who will still make the big calls on public education. But Mr. Klein is going to seek opportunities in education, an occasionally polarizing area where some people dont like to see private companies tread, for News. Corp., an occasionally polarizing media behemoth whose assets include Fox Broadcasting, Fox News, 20th Century Fox and The Wall Street Journal. Although the Washington Post Co. set a precedent for a big media outfit getting involved with education, News Corp. is likely to do it very differently. The Washington Post Co. makes most of its revenue, 62%, from its Kaplan education division, and most of its education revenue from higher education programs offering bachelors, masters and other degrees and certificates. But the higher-education business is poised to contract as a result of government regulations focusing on excessive student debt loads, said Ariel Sokol, an analyst covering the Washington Post Co. for UBS. I sincerely doubt that youre going to see new entrants in this space any time soon, he said. And, of course, Mr. Klein has spent his tenure as schools chancellor working on education from kindergarten through 12th grade. So its most likely that Mr. Murdoch and News Corp. are eying the same turf, where the business opportunities include charter schools, virtual schools and technologybased teaching and learning aids. The immediate best bet is that News Corp. will seek possible investments in technology platforms that schools, public or private, can adopt to help students learn-a kind of paid-content business, which is one of Mr. Murdochs big media priorities.

Mr. Klein referred to those kinds of products last week during the press conference introducing Ms. Black as his successor. As recently as yesterday I was in Brooklyn, looking at a really great learning platform that our kids are engaged with and that our teachers love, he said. He was visiting a kindergarten in Brooklyn that uses Time to Know, a digital curriculum system offered by a private company of the same name. To me thats the future and I want to be at the center of it, Mr. Klein said. Thats why Ive accepted an offer from News Corp. to become an executive vice president in the chairmans office and a member of their board of directors. Whether outsiders will welcome News Corp. into the education business is another question. There is a reasonable debate to have on education, about what we need to do, about the federal governments role in the process, said Ari Rabin-Havt, VP-research and communications at Media Matters, so relentless a critic of Fox News that George Soros gave it $1 million last month explicitly for that reason. Fox News as an entity gets in the way of those debates. Fox News host Glenn Beck has certainly criticized the school system. Sell a car if you have to, he told viewers earlier this year. Get your kids out of this indoctrination or our republic will be lost. Mr. Klein needs to publicly confront Fox News heated rhetoric on education if he wants to be taken seriously, Mr. Rabin-Havt said. An equity analyst covering News Corp. was also skeptical. We want our kids to be educated in as impartial a manner as possible, he said. Regardless of Fox News slogan, they clearly have a very strong political bent, and Rupert Murdoch clearly has a very strong political bent. A News Corp. spokeswoman declined to comment. But an education-industry veteran said he didnt think politics would enter any News Corp. educational products. I dont believe theyre going to be doing curriculum development that would have a conservative right-wing slant, said Steven Pines, executive director at the Education Industry Association. There are built-in speed bumps that would correct for what might be considered editorializing. The education industry will welcome News Corp.s entry, Mr. Pines said, who suggested that Mr. Klein could help reduce the tension between public educators and private companies entering the sector. Klein could help calibrate or set that tone, particularly among his former superintendent colleagues, he said. He was a very effective chancellor for eight years, so hes got a lot of currency in the bank. And now hes joining News Corp.-a company with a big checkbook and name and lots of media outlets at their disposal. Analysts reactions to the business prospects for News Corp. were muted at best. I would say that it surprised me to hear of this plan, said Michael Nathanson, head of United States media and telecom equity research at Nomura. Without more specifics from News Corp., he said he wasnt sure what to make of it. Another analyst said he hoped News Corp.s investment in education remained as modest as possible.

Is there anything about education, if youre an expert at running media companies, thats going to make you an expert in running an education business? asked Douglas Creutz, VP at Cowen & Co. No. If Im an investor and want to invest in education companies, Ill go and do it directly. I dont need News Corp. to do it for me. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 Behind Krafts seismic shift: Why its shaking up its shops; Once-staid marketer experiments with new agencies and creative to invigorate sales, beat back private label BYLINE: E.J. SCHULTZ AND RUPAL PAREKH; ESCHULTZ@ADAGE.COM RPAREKH@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1071 words

When Irene Rosenfeld took the CEO slot at Kraft Foods in 2006, she came with a reputation as a take-charge leader unafraid of shaking things up. That is an understatement when it comes to agency relationships. Under the Brooklyn-born Ms. Rosenfeld, North Americas largest food company has morphed from a clubby client that prided itself on deep-rooted relationships with Ogilvy and DraftFCB to a demanding marketer aggressively seeking to experiment with new agency partners on its $1.75 billion business.

In what would have been viewed as heresy at the old Kraft, the companys marketing department has, over the past 24 months, snipped longstanding ties with those heritage Interpublic Group of Cos. and WPP shops on more than 20 iconic brands from Maxwell House to Mac & Cheese and Chips Ahoy to Cool Whip. In their place, Kraft is bringing onboard a new crop of agencies, most with which its never worked before. In essence, Kraft has spread its seed; it now works with every holding company, as well as independents. Nearly 100-year old Kraft says its evolving to stay ahead of the rest of the packaged-goods pack. More than ever, were focusing on contemporizing and making our iconic brands more relevant to todays consumers, said Dana Anderson, senior VP-marketing strategy and communications. Were raising the bar with our agencies in order to deliver more creative and engaging campaigns. Our ultimate goal is to heighten the profile and performance of Kraft Foods brands and we believe were on the right track. About all the new shops on its roster, the company said: Different agencies are being asked to bring a fresh infusion of creativity to build the profile and performance of our iconic brands. The new group-which includes Crispin Porter & Bogusky, McGarryBowen, Being (a spinoff of TBWA/Chiat/Day), Droga5 and The Martin Agency-are all smaller than the sprawling global networks Kraft was using, and many are known for breakthrough, even risky approach to creative. Kraft is also working with independent Mother, New York, for Cadburys Sour Patch Kids line. While in the U.S. Kraft is spreading its relationships like Philly cream cheese, on a worldwide basis, most of them appear intact for now; DraftFCB remains the lead global shop for Oreo, for example. Still, its a far cry from the Kraft that for so long stuck with the same stable of roster agencies. Its almost as if they have woken up to the power of their portfolio and [are] just trying to shake things up, said an agency exec at a Kraft roster shop. I think they are recognizing that safe doesnt cut it, and for agencies, anyone who is new is perfectly situated to take advantage of those who are old. Translation? Any agency working for Kraft these days has got to earn it, continually-and that could mean jump-ball pitches for work, or sudden switches in agency partners. The ad agency changes are being driven by Chief Marketing Officer Mary Beth West, who assumed the role in 2007. Ms. West, said another exec at an agency that works with Kraft, reacts on instinct and will not tolerate what in her mind is inferior work. Shes moved up in the organization like a lightning bolt and is very, very close to Irene. Another change agent is Ms. Anderson, a past president of DDB in Chicago-whom the executive described as bringing an added dynamic, because she comes from an agency background and is very actively involved in the pitches-and Deb Giampoli, director-strategic agency relations, who has spent time on new compensation arrangements for agencies. While these executives have all been in place for a few years, elsewhere inside Kraft is a raft of new

talent. At a meeting this fall with Wall Street analysts, Ms. Rosenfeld boasted that 80% of Krafts leaders are new to the company or new to their positions. We needed to be more nimble and respond faster to local-market conditions, she said. It appears to be spending more money on marketing too. Measured media on all Kraft brands jumped more than $100 million in the first six months of 2010, to $454.9 million from $348.3 million in the same period last year, according to Kantar media. There is some evidence the strategy is working. Sales of Mac & Cheese, for example, are up 6.6% in the year ending Oct. 3, as the brand gained 1.5 dollar market-share points, according to SymphonyIRI. And UBS called Kraft an ongoing U.S. turnaround story. Kraft is trying to catch up after neglecting to invest enough in marketing earlier this decade, according to Burt Flickinger III, of Strategic Resource Group. At a time that Kraft should have been investing more Kraft was cutting back, and so Irene Rosenfeld has to make up for [that], he said. As it pours profits back into brand marketing, Kraft could find it tough to convince consumers to trade up in the face of competition from private-label brands, especially in the short term, if the economy does not pick up. Krafts North American organic revenue for the quarter grew by only 1.1% from the year-earlier quarter, as higher prices were offset by lower volumes. Consumers continue to be highly selective in their purchase decisions, wrote Morningstar analyst Erin Swanson in a recent note to investors, adding that Krafts advertising in the third quarter failed to drive demand. Mr. Flickinger said the company needs strong creative and strong consumer communications to drive newer, additional consumer demands and justify consumers paying a premium. In the course of 2010, Kraft has launched new ad campaigns for 15 of its power brands, including Ritz, Oscar Mayer and Philadelphia Cream Cheese. The tone of much of the new advertising has taken a bold turn, with campaigns like its brash Dont Be So Mayo Miracle Whip ad from McGarryBowen and the Mac & Cheese work from Crispin targeting adults-not just kids-with its You know you love it push. Most recently, the company rolled out a new campaign for Planters by Omnicom Groups Being, that for the first time ever features a talking Mr. Peanut, whose voice is supplied by Robert Downey, Jr., portrayed with a gash in his head from a nutcracker. There are still more agency changes on the horizon in the Kraft portfolio of brands-A1 Steak Sauce and Bulls-Eye barbeque sauce will soon be assigned new agencies-but those close to the food giant say its already eyeing its confection brands under Cadbury for the next phase of changes. Stay tuned. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 Eyes on local TV as marketers look for way to connect; Smaller brands, national advertisers discovering stations are also media companies BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 666 words

To capture new business for its TV stations, NBC Universal has begun selling something other than just TV ads and, in the process, is opening itself up to new money. NBC local stations are trumpeting a multivitamin product from Natures Way on their Twitter feeds and Facebook pages as well as in promotional email blasts; working Cosi restaurants into Talk Stoop, a celebrity meet-and-greet program on a digital-cable channel; and creating ads featuring Today weatherman Al Roker to hype Expo markers. The marketers involved had never run TV campaigns before. Local advertising is getting more attention, particularly as smaller marketers-and national advertisers seeking to spend more heavily in specific regions and in smaller communities-have grown more sophisticated. They are more eager to test out video advertising rather than relying entirely on direct mail, Yellow Pages and local newspapers. And owners of local-TV outlets have discovered that in this digital age, they are local media companies, as opposed to TV stations, said Mark Fratrik, a vice president at consultant BIA/Kelsey. TV remains a large part of the sales proposition, but if station executives believe TV is the sole driver of ad revenue, that could leave rivals eager to sell other kinds of media a hook with which to approach local clients. Among local broadcasters newer competition for dollars: AOLs Patch, a series of local-news websites; local newspapers that have been investing in hyperlocal sites; and Google search. TV stations, however, have a long standing in their local communities, said Mr. Fratrik, and the ability to

gather large groups of consumers together to the living-room screen, then push them to digital venues. At one time, we probably did less than 10% of our revenue from these kinds of efforts. Now we think this is the growth side of our business, said Frank Comerford, president-platform development and commercial operations at NBC Local Media. At CBS Corp. an effort is afoot to create new media outlets for local advertisers. The company, which operates TV and radio stations in major cities, is combining its assets in city-focused online portals. A Los Angeles site, CBSLosAngeles.com, offers traffic, weather and content from CBSs L.A. TV and radio outlets. Among marketers using CBSs new local venues are MasterCard and Allstate. Historically, radio and TV sales staffs worked separately, said Anton Guitano, chief operating officer of CBS Local Media. Now, he said, the company is looking toward more cross-promotion. Why the push now? Local TV stations have suffered through a particularly wrenching economic period. Meanwhile, ad clients are demonstrating more interest in nontraditional media. According to BIA/Kelsey, local spending on traditional media will fall to $108.2 billion in 2014 from $115 billion in 2009. During the same period, spending on all online and interactive media is projected to grow to $36.7 billion in 2014 from $15.2 billion in 2009. The consultant estimates 55% of all U.S spending in 2009 was on local media. Larger media companies can offer some advantages smaller ones may not. Its one thing to be a local station owned by a larger, national media concern and quite another to be a local affiliate with business that is often much narrower in scope. At Cosi, executives had primarily advertised to people who came into their outlets, said CEO Jim Hyatt. Yet the company had established a presence for itself in large cities and wanted to draw new fans. Talks with NBC led to a broad marketing program involving multiple kinds of media, including ads on Talk Stoop, a celebrity-interview show that airs on a digital-cable outlet operated by NBCUs WNBC New York Station, as well as outdoor advertising tying Cosi to the show. We needed to connect with a method that behaved the way our customer was behaving-the transit, the in and out, the walking the street. Were not counting on one device to drive the numbers. And neither is TV. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; M&MS BYLINE: E.J. SCHULTZ SECTION: Pg. 24 Vol. 81 LENGTH: 348 words

DEBRA SANDLER, CHIEF CONSUMER OFFICER, MARS CHOCOLATE NORTH AMERICA The 66-year history of M&Ms is full of big moments. There was the 1941 introduction to American soldiers serving in World War II. In 1954, the melts in your mouth, not in your hands tagline was born. The candies hit a high in 1982, rocketing into space for the first of many shuttle missions. In 2004, personalized M&Ms came on board. This year might be remembered as the year of the pretzel. In a salty-sweet combo, M&Ms Pretzel Chocolate Candies debuted in May, and their instant popularity has helped candy giant Mars post impressive sales gains for the M&Ms brand. Sales of small and large bags of all varieties jumped by more than 12% the year ended Oct. 3, with total combined sales of $708 million, solidifying the brands place as the top seller in the chocolate candy category, according to Symphony IRI. Mars, a private company, declined to disclose sales numbers for the pretzel version, but said that the new variety is beating expectations by 50%. Its a blockbuster product for us, said Debra Sandler, chief consumer officer for Mars Chocolate North America. The biggest challenge is keeping it stocked on the shelves. The ad campaign by Omnicom Groups BBDO, New York, makes use of a technique M&Ms has

been using since 1954, when it first made the cute, little M&Ms characters the stars of a TV ad. Orange, which made its debut in 1976, is the official spokescandy for pretzel. In one ad, he is nervous about them putting a giant pretzel inside me. Although its a pretty basic combination-and one thats been around for years-mixing chocolate and pretzel in an M&Ms was conceived only after extensive research, Ms. Sandler said. This is firmly rooted in consumer insight, she said. Its something we cooked up after we talked to consumers. And its also an example of how a venerable brand has remained relevant through innovation. Theyve certainly kept the brand alive and fresh, said Randy Hofberger, a Wisconsin-based candy consultant. They seem to be modern and that always helps a lot. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; MARVEL ENTERTAINMENT BYLINE: ANDREW HAMPP SECTION: Pg. 28 Vol. 81 LENGTH: 460 words

JOSH SILVERMAN, SENIOR VP-GLOBAL BUSINESS AFFAIRS AND STRATEGY, SENIOR VP-LICENSING OPERATIONS

DAN BUCKLEY, PUBLISHER AND PRESIDENT-PRINT, ANIMATION & DIGITAL DIVISION, MARVEL WORLDWIDE To most moviegoers, Iron Man means little more than Tony Stark, Robert Downey Jr. and a pair of blockbuster films that have collectively grossed more than $630 million in the U.S. alone. But to comic book fans, Iron Man is just a small piece of a much larger puzzle called The Avengers that Marvel Entertainment is about to capitalize on in an even bigger way over the next three years. The Avengers is a comic-world mainstay that only recently became a part of the pop-culture mainstream. And Marvel has been turning to a combination of publishing, consumer products, animated TV series and live-action films to keep the franchises alive and thriving. Josh Silverman, Marvels senior VP-global business affairs and strategy, said the biggest priority since Walt Disney acquired Marvel in 2009 has been teaming up with its new corporate parents global retail and distribution partners to create a U.S.-centric global franchise-management strategy. Having people on the ground gives us a better understanding in the marketplace of what the local cultures are and, in real-time, allows us to adjust portfolios to satisfy the masses in any country, Mr. Silverman said. It also helps set the tone for a blitzkrieg of toys, comic books and other brand extensions leading up to Marvels busy theatrical slate. Summer 2011 brings two more films, Thor and Captain America: The First Avenger (distributed by Paramount Pictures). And in 2012, The Avengers, a superhero all-star film of sorts, will compile the title characters of those two films as well as Iron Man and a few other legendary Marvel characters. Dan Buckley, Marvel Worldwides president and publisher of the companys print, animation and digital division, is hoping that having familiar faces such as The Hulk and Tony Stark alongside Avengers characters such as Captain America and Thor will equal more than the sum of their parts to moviegoers and more casual fans who may see the movies, watch coming animated series on Cartoon Network or Disney Junior or purchase products from partners Hasbro, Crayola and Fruit of the Loom. The renewed interest in legacy Marvel characters has also kept business at the companys flagship publishing division flat in recent years, no small achievement given a punishing recession for all kinds of book sales. We look at publishing as an incubator-a very profitable incubator, Mr. Buckley said. Its a place for us to constantly reinvent franchises that were responsible for developing new stories or new characters around and developing talent to bring voices to. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; MCCAF BYLINE: MAUREEN MORRISON SECTION: Pg. 30 Vol. 81 LENGTH: 377 words

SOFIA THERIOS, DIRECTOR-MARKETING, MCDONALDS USA McDonalds has had coffee on its menu since the early 80s, with as many as 60 different coffee blends being used in the restaurants. But then McDonalds starting developing a long-term strategy to integrate coffee and related beverages into its core menu. In 2006, the fast feeder rolled out premium-blend coffee in its restaurants. The following year, it introduced iced coffee, and in May 2009 rolled out McCaf. In July, McDonalds expanded McCaf with frozen smoothies and frappes. Thanks to McCaf, coffee has played a larger part in McDonalds sales. During the companys thirdquarter earnings call, Chief Operating Officer Don Thompson said coffee percentages in the U.S. have grown to more than 6%, from about 2% in

2004.
The move into premium coffee illustrates McDonalds ability to reinvent itself and appeal to consumers across the spectrum-and boost sales in new dayparts. As you look at how customers use our restaurants today, and how eating out and how habits have changed, gone is traditional breakfast, lunch and dinner, even though we sell the majority of our coffee products at breakfast, said McDonalds USA spokeswoman Danya Proud, who worked with Sofia Therios, director-marketing, McDonalds USA, the lead marketing person for the launch of the McCaf beverages. Some of these other iced beverages really have started to pick up mid-morning and late afternoon. An aggressive marketing push helped secure buzz around McCaf . Aside from traditional advertising-general market, TV, radio, and print-McDonalds set up a booth at Fashion Week in February and September 2009 and ran a Free Mocha Monday promotion in July 2009. McDonalds continues to expand its offering under the McCaf brand. This month its introducing a caramel mocha drink, and the company is testing frozen strawberry lemonade in several markets, including Austin and El Paso, Tex.; Detroit; Rochester, N.Y.; and Western Michigan. Agencies on the roster for McCaf s coffee, frappe and smoothie lines include Omnicom Groups DDB Worldwide and Leo Burnetts Arc Worldwide for promotions; multicultural marketing is handled by Publicis Groupes Burrell Communications, Interpublic Group of Cos. IW Group and Omnicoms Alma DDB. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010

This suits for you: Bud charges MLB jacked up sponsorship tab BYLINE: E.J. SCHULTZ; eschultz@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 516 words

Anheuser-Buschs longstanding relationship with Major League Baseball has turned sour as the two American icons battle over how much the brewer should pay to continue as the leagues official sponsor, a distinction A-B has had for more than 30 years. In a lawsuit filed Friday, Anheuser-Busch accuses Major League Baseball Properties of demanding higher fees and backing out of a deal struck in the spring to renew the partnership. The deal-which gives A-B the exclusive rights to use the MLB logo and game footage-is worth an estimated $10 million a year, according to IEG, a unit of WPP that tracks sponsorships. The brewer says MLBP wants new terms in light of a change in marketplace dynamics, according to a published report. A-B this year struck a much more expensive six-year deal for Bud Light to replace MillerCoors as the official sponsor of the National Football League. The NFL pact is worth an estimated $50 million a year, according to IEG. Jim Andrews, a senior VP at IEG, suggested that MLB could be negotiating with MillerCoors as the brewer seeks to spend sports marketing money freed up from its NFL exit starting next season. In some ways, MLB is in a very good position, because you have an incumbent that is interested in keeping their rights and an outside competitor who really wants them, he said. MillerCoors declined to comment on its possible baseball interest. Anheuser-Bush, meanwhile, said MLB is obliged to accept the terms of the renewal. In April, Budweiser accepted MLBs offer and renewed our official beer sponsorship of the league, the brewer said in a statement. We are asking the court to recognize our sponsorship agreement reached last spring. MLB spokesman Matt Bourne said: Major League Baseball Properties hasnt been served with the complaint, and our lawyers have yet to review it. We dont normally discuss active litigation. However, we have a different view of what has been reported. The legal dispute represents a contentious new chapter in the MLB-Anheuser Busch partnership. The relationship has historically been very strong, said Marc Ganis, president of SportsCorp, a Chicago-based sports business consulting firm. Something here is amiss. Either baseball overreached or the new ownership [of Anheuser Busch] is taking a different tack than the predecessor did-and that is not expected by MLB, he added, referring to the 2008 InBev merger with A-B to create Anheuser-Busch InBev.

It is unclear how much money MLB is seeking from the sponsorship, but analysts suggested the baseball pact is worth far less than the brewers deal with the NFL, which draws significantly higher TV ratings. (The 2010 World Series had an average of 14.3 million viewers, the second-lowest average in the fall classics history, and had the lowest adult 18-to-49 rating and highest median age52.6-since at least the early 90s. The clinching Game 5 even trailed ABCs Dancing With the Stars.) The NFL shield is perceived as one of the great brands in the world, Mr. Ganis said. You dont typically see the MLB logo in the same range as the NFL shield. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 Will Newsweek Daily Beast be beautiful combination or a Frankenstein monster?; Beasts Tina Brown could bring credibility, PR to 77-year-old weekly BYLINE: NAT IVES; NIVES@ADAGE.COM SECTION: Pg. 34 Vol. 81 LENGTH: 410 words

Nobody knows what happens when you combine a 77-year-old money-losing newsweekly with a two-year-old website thats yet to turn a profit. So its going to be fascinating to watch the adventures of The Newsweek Daily Beast Co., formed last week by the merger of Newsweek and The Daily Beast.

In terms of meeting immediate needs, the deal is a masterstroke. Newsweek needed an editor after Jon Meacham, whose high-minded 2009 redesign underperformed, departed with the sale of the magazine to Sidney Harman. The deal installs Beast Editor in Chief Tina Brown as editor in chief of Newsweek as well. Its like pumping jet fuel into a magazine thats running on fumes. Ms. Brown is a master of buzz whose reigns at Talk, The New Yorker, Vanity Fair and Tatler were celebrated. She bring an enormous amount of credibility and a built-in PR machine, said George Janson, managing partner and director of print at Group M, the media buying and planning power. The main problem for her will be the crush of raised expectations, Mr. Janson said. And for The Daily Beast, part of the big internet company IAC Corp., Newsweeks name and 1.5 million paid subscriptions could bring new clout and new audiences. Despite all the buzz thats accrued to the Beast, its site attracts significantly fewer people than Newsweek.com: 2.2 million for the Beast in September compared with 6.2 million for Newsweeks site, according to Compete. And even though Newsweeks ad pages in the first three quarters fell 12.7% from the same period in abysmal 2009-a decline exacerbated by uncertainty around the magazines sale-Newsweek still has a lot more advertising than the Beast. The new company hasnt much articulated its business strategy, and the partners financials arent public. And its not clear that buying ad packages across Newsweek and The Daily Beast will prove tremendously more compelling to marketers, structurally speaking, than buying ad packages across Newsweek and the bigger Newsweek.com. One Newsweek sales staffer wondered whether it made sense to shut down Newsweek.com. Theres certainly some equity in Newsweek.com, he said. We rival a lot of sites. For now, though, this Newsweek Daily Beast Co. is the most interesting thing in media, which will help attract advertisers looking to share the spotlight, at least in the near term. Everyone feels that its a good shot in the arm, the Newsweek sales staffer said. Its got people talking about Newsweek again. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; OLD SPICE BYLINE: JACK NEFF SECTION: Pg. 28 Vol. 81 LENGTH: 380 words

JAMES MOORHEAD, BRAND MANAGER, PROCTER & GAMBLE Isaiah Mustafa, aka the Old Spice Guy, ranks with Wendys pitchwoman Clara Wheres the Beef Peller among those who transcended ad greatness to achieve pop-culture stardom. His original February ad from Wieden & Kennedy, Portland, Ore., won a Grand Prix at the Cannes Lions International Advertising Festival and generated more than 20 million viral views, according to Procter & Gamble. The brand and Wieden followed that up with nearly 200 customized videos over three days via Twitter. The campaign spawned more than 140 million total YouTube views to date (including parodies) and generated 1.8 billion PR impressions, according to P&G. But has he sold body wash? Undoubtedly, according to P&G, which points to huge sales gains for Old Spice body wash since February, which has led the company to claim mens brand leadership in the category. Realistically, its hard to know how much soap Mr. Mustafa has sold or who leads. SymphonyIRI data show Old Spice body-wash sales up 27% to 107% in four-week periods since February. But at typical industry redemption rates, the buy-one-get-one-free and other high-value coupons Old Spice has distributed since February would account for most of the brands sales gains and all share gains. Since Unilever started issuing BOGO coupons, Axe edged out Old Spice in body-wash sales for the eight weeks ended Oct. 3, according to SymphonyIRI data, which exclude Walmart, dollar stores or clubs. James Moorhead, the man (or brand manager) behind the man your man could smell like, 31, isnt your typical P&G brand manager. Having spent seven years coaching high-school hockey in Cincinnati before moving to Boston in his current role, hes doing what for most P&G brand managers would be like playing without a goalie-letting his agency make ads without copy testing. Mr. Moorhead has worked with and without copy testing. But he said copy testing wouldnt have

worked for Mr. Mustafas ads. For Responses, Mr. Moorhead wasnt even on set, which said was a vote of confidence in Wieden. As for copy testing the original ad, he said: Imagine The Man Your Man Could Smell Like in a storyboard. . It never would have passed. It really was about the executional magic that Wieden could create. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 WHAT IT TAKES WRITERS TO HIT PAY DIRT ON CONTENT FARMS: ITS ALL ABOUT THE TRAFFIC; Top reporter on Examiner, formerly homeless, earns close to $100,000 a year blogging on Bieber BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 820 words

When Jodi Jill was laid off from her position as an assistant at a car dealership two years ago, she took a number of odd jobs to pay the bills, from hawking oranges off the Venice exit on the 405 freeway in Southern California to fixing sequins onto costume dresses. She also wrote the occasional article for Examiner, the crowdsourced content play backed by billionaire investor Philip Anschutz. Fast forward two years and Ms. Jill, who was briefly homeless after being laid off, says shes made just under $100,000 in the past year by writing exclusively for Examiner.

The Examiner and its better-known competition, Demand Media and Associated Content, are often lumped into a sector called content farms, which enlist freelancers to write search-friendly content, and pay them either very low rates or fees based on traffic. So what does it take to make $100,000 a year writing for a content farm? Denver-based Examiner pays its writers anywhere from $1 to $7.50 for every thousand page views their posts generate, based on a black-box formula. The company has a roster of more than 60,000 contributors producing more than 3,000 articles a day. In the case of Ms. Jill, she posts anywhere form 100 to 130 articles in a week, and though Examiner will not disclose Ms. Jills traffic or her rates, a bit of back-of-the-envelope calculation shows its entirely feasible. Assuming she brings in around $95,000 a year and that her base rate is in the midrange of around $3.50 for every thousand impressions, given that her beat-entertainment-is a semivaluable category, shes booking close to $1,800 for every 120 articles, or about $15 per article, which is a handsome though not unheard of rate in the blogging world. At $15 an article and an assumed CPM of $3.50, each post generates around 4,300 impressions, or over 500,000 page views a week-all from a single contributor. Thats one of the reasons why there is a disparity in earnings, CEO Rick Blair said. Many writers cover some of the more obscure topics, like if youre in Tulsa and youre the Yoga Examiner, he said, using Examiners term for its writers. But if youre in New York or Los Angeles covering celebrities, theres going to be a big difference in the amount of people viewing you. The Examiner confirmed Ms. Jills claim but cautioned that her situation is not typical of its contributors, most of whom write as a hobby and make no more than a few hundred dollars a year. Id see people like Miley Cyrus just being herself in the local coffee shop, Ms. Jill said. And you start to learn these interesting little facts that arent covered in the media-not exploitation-but things that other folks would be interested in. So I wrote about that. And it turned into something. Among her subjects: Justin Bieber, Dancing With the Stars, Taylor Swift and Disney Land. She posts as many as 30 articles in a single day, and sometimes as few as three, though she said she doesnt spend more than seven hours a day writing, five days a week. That resolve around writing for a loyal readership has attracted advertisers in general, though not specifically. As an example of how marketers view content from Examiner, HGTV recently bought into a content campaign by asking Examiner writers to post something about its show Property Virgins, a reality program about first-time home buyers. We wanted to talk to the influencers, people who are actively engaged in real estate, said Jonah Spegman, head of digital media and marketing at HGTV. The writers also had leeway to write negatively about the show, but it was a risk that didnt deter Mr. Spegman from buying into Examiner. We were more concerned about it coming off as pushy marketing, he said. The ad program didnt yield any visibly disapproving posts from the writers. Such campaigns are not commonplace on Examiner. The company largely sells banner ads in-house and runs a portion of its inventory through ad networks. Sabah Karimi, a contributor to Demand and

Associated, said she posts from 20 to 30 articles a week, netting in the low-to mid-five figures in a given year. But Ms. Karimi, 28, primarily works as a freelance writer, providing copy for companies websites, and she sees these outlets only as a way to supplement her income. She prefers writing for Associated as opposed to Demand because, like Examiner, Associated gives her the freedom to post on any topic she chooses. (Demand creates assignments that writers can pick up.) Still, she remains practical, focusing on so-called evergreen topics like travel, beauty and fitness. I shifted to those areas because they are the best performing, she said. Above all, Ms. Jill said she has to write what she loves, a lesson she learned after meeting Stan Lee at ComiCon. I say to him, How do you pull all this stuff out, all this stuff you write? He says to me, You write what you love, and there will always be an audience. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; MY PILLOW PETS BYLINE: JENNIFER ROONEY SECTION: Pg. 26 Vol. 81 LENGTH: 411 words

JENNIFER TELFAR, CEO, CJ PRODUCTS What started as a wish to bring some practicality to an otherwise frivolous pile of stuffed animals in a

little boys room has, in seven years, turned into a multimillion-dollar global business. That, in short, is the My Pillow Pets story. The longer version is that in 2003 ,Jennifer Telfer, a California mom of a then-7-year-old, decided it would be great to make a stuffed animal for her son that did more than just sit there. What if it could double as a plaything and a pillow? One meeting with a plush manufacturer at a Las Vegas tradeshow later and she and her husband, Clint, were on their way to developing what Toys R Us this year named one of its hot holiday toys. The first My Pillow Pet was a dog, and six more animals followed from there. Today the company sells about 30 different animals and they keep multiplying, Ms. Telfer, CEO at parent company CJ Products, said. In 2003, the year the company started selling the pillows, it logged $300,000 in gross sales. By 2009, after starting advertising on kids cable channels such as Nickelodeon, Cartoon Network and PBS Kids as well as family-oriented nets such as Travel Channel, the company recorded $7 million in gross sales. This year CJ Products forecasts in-house gross sales to mom-and-pop and smaller chain stores such as Hallmark of $20 million. It expects to sell 15 million pillows by the end of 2010 via mass retailsuch as Bed Bath and Beyond, Target, Walmart, Walgreens and Rite Aid-which, at a wholesale price of $10 per pillow (retailers sell it for $20), equates to $150 million gross. The company also sells the pillows for $24.95 directly from its website, mypillowpets.com. And now the real fun begins. Earlier this year CJ Products signed with Fabrique Innovations, a collegiate licensing company, to create a line of collegiate Pillow Pets that will come out next year. It is also finalizing deals with Sesame Street and DreamWorks to license characters for new pillows. The pillows are currently sold in six countries; next year they will be sold in nearly 20. Still ahead on the My Pillow Pets agenda is a revamp of the top 12 animals as actual branded characters, with names, personalities and best friends-which actually will be blogging to help kids further connect with these animals, Ms. Telfer said. And the long-term goal is for the character development to give way to a cartoon series or movie. Some sort of animation, for sure, she said. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; POPCAP BYLINE: BETH SNYDER BULIK SECTION: Pg. 24 Vol. 81 LENGTH: 355 words

BEN ROTHOLTZ, VP-MARKETING With super-popular games such as Bejeweled, Zuma and Peggle, PopCap was already a wellestablished leader in the casual gaming space and had established a reputation for its unconventional and even quirky content. And then along came Plants vs. Zombies. From its launch in spring 2009, it captured attention with its friendly-looking zombie attackers and funky plant weapons. Casual gamers and hardcore console players were both drawn to the game. But it was the debut of the PvZ iPhone app this February that really gave the game, and PopCap, momentum. More than 300,000 copies were sold in only nine days, pulling in $1 million, and setting an App Store record at the time. PopCap has added a console game and launched an Xbox 360 version this fall, along with plans for a handheld Nintendo DS version in early 2011. Initially, a small marketing budget helped inspire creativity among the PvZ staffers who were sure it would be a hit. Think lots of inexpensive-to-produce online content, including an original spoofy Zombie temp office worker series; a Zombatar that zombie-ized users profile pictures; and posting of the weirdly popular song Zombies on Your Lawn that is the payoff for winning the game. Fans of the game, including celebrities who mentioned PvZ on talk shows, also helped spur a cottage industry of plushies, hand-painted T-shirts and ceramic lawn ornaments in homage of the game. However, the story wasnt all just lovable zombies this year for PopCap. In the fall, it launched the fourth iteration of its beloved godmother of casual games, Bejeweled. But it didnt do so without a nod to Bejeweleds quirky siblings: PopCap launched a cross-platform marketing strategy that brought in several fan favorites. Plants vs. Zombies has been such a phenomenon, we sort of needed to make way for another one of our franchises. And even though its Bejeweled, the mash-up with Zombies and other franchises helps bridge between them. Our fans revel in this stuff, Mr. Rotholtz said.

The cross-platform appeal comes from a distinguishable PopCap brand ethos, he said. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; POPCHIPS BYLINE: RUPAL PAREKH SECTION: Pg. 27 Vol. 81 LENGTH: 348 words

KEITH BELLING, CEO For years, Keith Belling visited the same deli nearly every day, carrying out the same routine: buy a bag of fried potato chips, eat them, feel guilty, repeat. Im a snacker, said Mr. Belling, a Silicon Valley entrepreneur turned CEO of PopChips. I knew I shouldnt be eating fried chips, but Im just not a fan of baked chips as much as I tried them. So in 2007, he set out to find the holy grail of snacking. What he found wasnt just a new chip brand, it was a whole new category. I was convinced you were not able to tell a consumer you can have a healthy fried chip or a goodtasting baked chip, he said. As the name indicates, PopChips are neither baked nor fried, but popped via a combination of heat and pressure (not all that different from popcorn).

Once he was happy with the product, months were spent interviewing between 20 and 30 packagedesign firms before hiring Turner Duckworth to give PopChips a brand identity and brightly colored snack bags. While its used a variety of advertising agencies, including San Francisco-based Pereira & ODell and now New York-based Kraftworks, its grassroots marketing approach, a blend of hyperlocal and social marketing, has stayed largely the same. One addition to PopChips outreach is celebrity spokesman Ashton Kutcher, who approached PopChips earlier this year. He was a fan of the brand, and we were doing a round of financing, and Ashton, through a mutual friend, said hed be interested in investing. Then he said he wanted to be the companys President of Pop Culture and help shape the brands social-media strategy. I assumed I was getting punkd, Mr. Belling said. PopChips have been picked up for distribution nationally by Target stores, Whole Foods, Jamba Juice, 24 Hour Fitness gyms, and are served on Virgin Airlines. The company, which projects 100% growth to $40 million in revenues for next year, is already making a significant dent in the $5 billion to $6 billion category. Thats making it the model for smaller companies that are now trying to get a toehold in the popped chip category. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; PUREX COMPLETE 3-IN-1 BYLINE: JACK NEFF SECTION: Pg. 28 Vol. 81

LENGTH: 390 words

ERIC SCHWARTZ, VP-NORTH AMERICAN LAUNDRY MARKETING, HENKEL U.S. laundry aisles saw plenty of broken dreams and discontinued products about 10 years ago, when marketers thought consumers were ready for new forms such as tablets and home dry-cleaning kits. They werent. Tablets died, and home dry-cleaning products were discontinued or left to smaller private-equity-backed companies. Dial and its subsequent acquirer Henkel were burned by both those failures. So it might have seemed crazy for Henkel to launch yet another laundry form-Purex Complete 3-in-1-in May 2009 amid a deep recession, particularly when it was a premium product from what had long been a bargain brand. Yet two sets of concept and use tests from Nielsen Bases predicted the combination detergent, fabric softener and dry sheet would be a winner. It was. Purex Complete generated $67 million in year-one sales per SymphonyIRI (more than $100 million if all outlets are included) and beat first-year sales for the next biggest laundry product launch of the year, P&Gs Tide Stain Release. The Purex product took 82% of its volume from competitive brands as ads from Energy BBDO, Chicago, generated 80% product awareness among target consumers outside Purexs usual value-focused crowd. Marketers misread signals from prior launches to conclude consumers wouldnt embrace any new laundry forms, said Eric Schwartz, VP-North American laundry marketing for Henkel. We thought we could really shake up a sleepy category and stretch the identity of the brand, he said, making Purex about simplicity, problem-solving and innovation in addition to value. Mr. Schwartz, who began his career working for nonprofits, later worked for Clorox Co. before coming to Henkel and spending time on global laundry-product development in Germany before returning to the U.S. Purex Completes ads focused simply on what it is and how it works, said Mr. Schwartz. Henkel also gave the product to bloggers, generating 2 million online impressions as part of a digital and social campaign by Night Agency, New York. Among discoveries from social media was a use Henkel hadnt banked on-travelers using the sheets. Retailers pushed for a single-use $1 pack to sell in trial and travel sections, and the products portability also made for a strong sampling program driven by digital and social media. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; REDBOX BYLINE: RUPAL PAREKH SECTION: Pg. 26 Vol. 81 LENGTH: 368 words

GARY COHEN, SENIOR VP-PRESIDENT OF MARKETING AND CUSTOMER EXPERIENCE Six years after test-launching its DVD vending-machine concept at Denver-area McDonalds restaurants, Redbox is resonating with recession-bitten families across America searching for affordable ways to have fun. Weve been fortunate to see a lot of growth before the recession, and through the recession, said Gary Cohen, senior VP-president of marketing and customer experience. The Oakbrook Terrace, Ill.based marketer was born in 2002 and has steadily grown its presence to nearly 25,000 kiosks housed at big-box retailers, Walgreens, McDonalds and leading grocery and convenience stores such as Kroger, Albertsons and 7-Eleven in all 50 states. It has witnessed its biggest growth spurt in the past year, and thats something the company believes it has been able to achieve thanks to two key points: learning how to listen to customers and striking up powerful marketing partnerships with retailers. That growth spurt is evidenced in the numbers. At the start of 2010, Redbox had 30,000 Facebook fans; today, it has more than 1.5 million. Its iPhone appwhich permits users to find the nearest kiosk and reserve movies-launched about a year ago and has so far seen more than 2.5 million downloads. Weve created an enormous group of advocates, and thats what really powers the Redbox brand and our marketing strategy, Mr. Cohen said. Rather than test-driving Redbox services to see how

consumers respond, the company has been directly connecting with its fan base via mobile and directmail channels to learn what the next thing is consumers are looking for. Redbox has about 1.7 million consumers signed up to receive text messages, and that number is growing by about 100,000 a month. It has more than 20 million consumer email addresses. Consumer requests for a more convenient return program, for instance, spurred Redbox to launch its rent and return anywhere program. Landing on the list of Americas Hottest Brands is appropriate for Redbox as its not planning to export its brand overseas anytime soon. Were seeing a lot of growth potential here in the States, and as of now, thats where were focused, Mr. Cohen said. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; REEBOK EASYTONE BYLINE: NATALIE ZMUDA SECTION: Pg. 30 Vol. 81 LENGTH: 340 words

KATRIN LEY, HEAD OF BRAND STRATEGY, BUSINESS DEVELOPMENT AND WOMENS SPORT BUSINESS Reebok has been credited with fueling the aerobics craze of the 1980s, and three decades later its

out to do the same with the toning category. The companys EasyTone footwear has captured a third of the billion-dollar market, said Matt Powell, an analyst at SportsOneSource. The company doesnt break out sales of specific products, but Katrin Ley, head of the womens sport business unit at Reebok , said it has sold 5 million pairs of EasyTone in the U.S. and double that globally. Most EasyTone styles retail for about $100. The toning category has been a key driver of business and contributed to four consecutive quarters of growth at the brand. Reebok, which is part of the Adidas Group, saw sales jump 25% in North America in the third quarter. Reebok, like its competitors in the space, is rapidly expanding the line. EasyTone now encompasses shoes, sandals and boots, as well as a recently launched apparel line. The pants, shorts, capris, tees and tanks include Resistone bands to tone and strengthen muscles and improve posture by creating resistance when the wearer moves. Ms. Ley expects the category will continue to see big growth in the U.S. and overseas. Overseas is a particular focus, given that the market is about a year behind the U.S. in its acceptance of toning products. Its a category thats here to stay, Ms. Ley said. And the objective, from our end, is to establish Reebok as a thought leader and innovator in toning. To that end, Reebok is readying an ad blitz from agency DDB. The effort is set to include TV, print, outdoor and digital and will likely have a significant media budget, as Reebok looks to maintain its share of voice in the category. Last year, Reebok spent $23 million-or more than 80%-of its total measured media budget advertising EasyTone, according to Kantar Media. In the first half of this year, new ZigTech products got some hefty investment, but Reebok still spent $10 million of its budget on EasyTone. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; SILLY BANDZ BYLINE: BETH SNYDER BULIK SECTION: Pg. 27 Vol. 81 LENGTH: 347 words

ROBERT CROAK, CEO, BCP IMPORTS Who could have imagined that animal-shaped rubber bands would set off a trend the likes of which hasnt been seen since Webkinz? BCP Imports CEO and owner of the Silly Bandz brand, Robert Croak, did. He jumped into the market in late 2008, ahead of rivals such as Crazy Bands and Zanybandz, and got an enviable head start. SillyBandz now does more than $100 million in annual sales and sells more than 1 million packs (with a retail price of $5.95) every week. Silly Bandz traveled from playground to playground, first catching on in the Southeast and Florida last year, then spreading up the East Coast and then out toward the Midwest and on to California more recently. While the bands are easier to find in stores these days, collectors and fans still snap them up, especially the retired and rare packs. Much like Webkinz, Silly Bandz doesnt do paid advertising and instead relies on fans and retail partners such as Hallmark and other independent retailers to spread the word in local markets. Add in its own national social-media push on Facebook and Twitter, and the gotta-have-it rubber-band craze has taken off. Silly Bandz is now closing in on 1 million Facebook fans, and has more than 15,000 Twitter followers (at press time). As with many fads, there have been imitators. Rivals have carved out their own silicon-band nichesglow-in-the-dark or color-changing bands, for instance-and Silly Bandz in October filed a lawsuit against one rival, Crimzon Rose, and the retailer that carries it, Walmart. After the original Silly Bandz shapes such as zoo animals, sea creatures and princess shapes couldnt be kept in stock, the company diversified with a wider variety of shapes and added licensed bands as well. The company now carries Dora, SpongeBob, Hello Kitty, iCarly, Barbie and, most recently, Justin Bieber Silly Bandz. The company also inked a deal with Quiznos to put the bands in kids meals, teamed with a video-game developer for a holiday release of a Silly Bandz Nintendo DS game, and created a host of accessory and related products. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; SKECHERS BYLINE: NATALIE ZMUDA SECTION: Pg. 18 Vol. 81 LENGTH: 306 words

LEONARD ARMATO, PRESIDENT, SKECHERS FITNESS GROUP In most cases, being all things to all people is a recipe for disaster. In the case of Skechers, its led to massive growth. In 2009, net sales were $1.4 billion. In 2010, the company is on track to grow sales by 30% to $2 billion, no easy feat for a mature company. A big part of that growth can be attributed to Shape-Ups and Twinkle Toes, lines of footwear that couldnt be more different. The former is the leading brand in the billion-dollar toning category, while the latter is a line of shoes and boots that light up and feature sequins and rhinestones. Leonard Armato, president, Skechers Fitness Group, said the two brands have launched the company into elite status, making it the countrys No. 2 footwear brand, behind Nike. Shape-Ups, conceived as a brand that would appeal to body-conscious women, is now a powerhouse controlling 56% of the market, said Matt Powell, an analyst with SportsOneSource. But thanks to a Super Bowl cameo, Skechers first, the line has been gaining traction with men, Mr. Armato said. The line, launched only last year, has also expanded to include some 200 SKUs, with styles appropriate for walking, running, hiking and everyday wear. Skechers doesnt break out sales for specific products, though Mr. Armato said the company has sold

20 million pairs of Shape-Ups. At an average of $110 a pair, thats a business even Nike could be jealous of. Twinkle Toes, meanwhile, are all the rage with the preteen set. The flashy, brightly colored styles led to double-digit growth in the kids business during the third quarter. Even McDonalds, which typically taps entertainment properties for its Happy Meals promotions, has recognized the success of Twinkle Toes, Mr. Armato said. The fast-food giant will be featuring Twinkle Toes sometime next year. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 WHAT INDUSTRY INSIDERS TALK ABOUT WHEN THEYRE TALKING TURKEY; Forget secret recipes-we asked media and ad execs about what goes down on Thanksgiving BYLINE: KEN WHEATON AND RUPAL PAREKH; kwheaton@adage.com, rparekh@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 1851 words

With Thanksgiving just over a week away, its time to grab your Martha Stewart turkey recipes, polish the good silverware and prepare for at least one day to spend time with family and get away from work. Unless your family members all work in the same business-which happens a lot in the media and

marketing industry. So Ad Age thought it fitting-given this time of year is all about family and togetherness-to let some industry folk tell us about what they do for Thanksgiving. THE ZINCZENKO BROTHERS Ones the group publisher of Field & Stream, Outdoor Life and Shot Business. The others the editor in chief of Mens Health. So when Eric and David Zinczenko gather their families for Thanksgiving youd expect an alpha-male sort of affair. You dont know the half of it. Eric and wife Allison (who founded consultancy Z Marketing after years in publishing), host dinner and the table always includes wild turkey and venison that the Bonnier executive has taken from the field with his bow. David brings wine from his personal collection. Before dinner ends, table talk always turns to who is running the largest mens brand here in the U.S. or who is up in business, said Eric. I tell everyone at the table even when Best Life was combined with Mens Health, Field & Stream and Outdoor Life had more combined circ and more traffic-and we arent even trying to reach all men as much as we are hunters and fishermen. According to Eric, David typically fires back with, We should talk W-2s. Thats when the competition really starts. Eric reports the smack-talk usually builds up to a movethe-furniture wrestling match. This isnt hyperbole. Both men wrestled competitively growing up. David wrestled in college and Eric has studied Brazilian jiu-jitsu. Well just let Eric describe how that goes down: Years ago, I broke two of his ribs in front of his Hollywood girlfriend, says Eric. The following year he came back and tapped me out in front of my wife with a devastating wrist lock that sprained all the tendons in my wrist. There are few rules other than no punches to the face because of his damn Today Show appearances, although while we are fighting I might smack him around a little and say, Eat This! or Show Matt Lauer what your older brother gave you! But make no mistake, my brother can fight. How long will the tradition continue? When theyre running a business together, it will be time to maybe put an end to the nonsense, Eric says. THE MCGARRYS John McGarry would never have had the Rolodex thats the envy of the ad world if it werent for his wife Gilda. His college sweetheart started at Y&R before Mr. McGarry and urged him to get into the business too, even landing him his first interview at the agency. Needless to say, he got the job. Today, Mr. McGarry sits at the helm of McGarryBowen, and his son, also named John-but known by most as J-3-leads digital at the Dentsu-owned agency. Says Mr. McGarry: The entire family gets together, including my wife, my two children (J-3 and Vicky), my four grandchildren, my daughter-in-law, my son-in-law and his parents. Occasionally, we

are even joined by out-of-town family friends like Marilyn and Frank Anfield. Frank was a colleague of mine from my Y&R days. Throughout the day, we talk about everything from the grandkids to football, to hockey, to politics, to red wine and yes, ultimately advertising and our latest work. Everyone is usually very interested to hear about the latest campaigns, websites and pitches. The grandchildren join in the conversation, too-when were talking about Disney and Crayola work. It is truly because J-3 and I are so proud of what we do day in and day out, we cant help but share with those closest to us. THE DIFEBO SISTERS Ask Deutsch New York CEO Val DiFebo and sister Vanessa, director-client services at EuroRSCG, what the holiday is all about, and they say washing dishes. Lets face it, in a big Italian family, the holidays are all about the food. We start talking about the Thanksgiving menu (as if it will change or can be influenced) in early July, says Val. And then we land, as if by surprise, with the same menu weve enjoyed for scores of years. Our immediate family of 30 people all arrive on Thanksgiving with their appetites and boxes of Italian cakes and pastries, all of which land on the ironing board, our mothers idea of the perfect dessert holding station. After the meal, the girls-that would be us-team up to do the dishes by hand. Because No machine can wash dishes better than four girls and a box of Brillo. The girls get stationed, elbow to elbow for hours, washing, drying and talking-talking about life, the kids, men, work (this gets juicy when Vanessa and I are teamed up), what matters, what doesnt, what makes us laugh. In full regular cycle or pot-scrubbing cycle oblivion, we forget that in the other room people are flipping channels between football and opera. They role-play their favorite commercials for us (seriously), and usually by dessert someone is giving a concert, their voice well oiled with tannins. THE ROLFES Tiffany and David Rolfe were creatives at Crispin Porter & Bogusky in Boulder first, a married couple later. We spend most of our Thanksgivings with Daves family, says Tiffany. Theyre a very active and competitive family. Food-wise we stay pretty traditional but tend to add, of all things, crab-and its yummy. And almost every year we enjoy the rain and splendor of the San Juan Islands outside of Seattle. There are a lot of games and competitions that happen-ping-pong tournaments, frisbee golf, baking contests. Im not the most athletic person, so I contribute by showing the ads Ive been doing, says Tiffany. At least I can beat them at that. THE BROWNSTEINS Marc Brownstein is president of Philadelphia-based Brownstein Group, which was founded by his dad, Berny, in 1964. Berny is still chairman chief creative officer, and brother Michael is exec VP-chief revenue officer

for Meredith. So, according to Marc, In our family, theres little difference between social and business. Lines are totally blurred. Even in the course of regular life, the clan talks business. A lot. We chat by phone, email (grandparents, siblings, spouses, grandchildren all copied in), on vacations, at sporting events, says Marc. I get regular text messages from my college-age kids about ad campaigns-just recently they texted about the new Lebron Nike TV spot and the Really? Microsoft spot. Thanksgiving is just an extension of that, but a little more intense. We go around the table, and give 13 Brownsteins three-minute updates; takes a while, but its awesome. THE SEICHRISTS Call it your traditional American-German-Ukrainian-Chinese Thanksgiving. Pippa and Ron Seichrist, who are the founders of the Miami Ad School, live on the beach but spend Thanksgiving at a turn-ofthe-century farm they restored on the border of Georgia and North Carolina. Says Pippa: Our holiday isnt just a day. Its a whole week and includes different parts of our extended family, friends and students. When I think of Thanksgiving my mouth waters for turkey and cornbread dressing, my grandmothers recipe that has been passed down for over 150 years. Rons parents are from Germany so his traditional holiday foods contain vinegar. We adopted a little girl, Olya, from Ukraine when she was 6 years old. We were able to find and adopt her 13-year-old biological brother Andry. The day before Thanksgiving we make a huge pot of red borscht to snack on as we cook the Thanksgiving dishes. This holiday one of Rons sons, his Chinese wife, and baby will join us along with her mother who is visiting and doesnt speak English . We also invite students who arent going home to their own families to join us . Im curious how many more languages will be spoken around our table this year. THE REISMAN/SPECIALES Do we talk turkey on Turkey Day? Well, its hard to escape discussions related to the business, says Gary Reisman, principal of NewMediaMetrics, and brand-attachment measurement service, who is married to Donna Speciale, president-investment and activation and agency operations officer at Mediavest USA. Of course Donna is in the business, and my father-in-law is a media director in Vegas and well known in the industry. His name is Mike Speciale. But truth be told, we try to keep the discussion light and without details. We all work so hard-who the hell wants to talk about the details on Turkey Day? Donna and I host Thanksgiving each year and usually have about 15-20 people over so we are working our tails off that day-cooking, opening wine, drinking wine, etc., etc., until we collapse. The conversations are much lighter-about the turkeys weve met all year and the ones wed like to tell Go stuff it!-in or our out of the business.

THE POSTAERS The Postaers have infiltrated agencies all over the country, as well as China. Mom Chistine Montet is a retired art buyer (FCB, Chicago), while father Larry Postaer is the founder-chief operating officer of Rubin Postaer Associates out in California. Their sons are all in the business. Jeremy is a group creative director at Microsoft on Bing at JWT, NY; Daniel is director-integrated/sports marketing at DMG, China; and Steffan is chairman-chief creative officer at Euro RSCG in Chicago. Says Steffan: My mother and father divorced when I was very young so we didnt have the all-in Thanksgiving. But he and his brothers did get together with their father and talking shop was sort of a safe zone between men, the sons usually speaking about something interesting we were working on . Dad might ask a few questions, wondering aloud why we were doing it this way or that. He was critical but seldom judgmental . Looking back I recognize we were all speaking in deference to our father. Looking for validation, that sort of thing. THE BERGER BROTHERS Brandon, 35, and Jason, 30, are, respectively, the head of digital and media at MDC Partners and cofounder of Kids at Play, an entertainment media and brand development firm. The two grew up in the Chicago suburbs and now live on opposite coasts, Brandon in New York and Jason in L.A. But on Turkey Day, they meet in the middle and visit their old haunts the night before the big feast. When the Berger brothers get together we typically get in a lot of trouble, says Brandon. It could be karaoke, we could end up at a swimming pool. Its no-holds-barred. On Thanksgiving, theres little talking about work, except for maybe the obligatory hows business? but thats probably because everyones too distracted by the latest pictures their father, Paul, an architect who worked on some Chicago agency spaces, has displayed around the house. My dad has digitized all our photos growing up, and they play on flat-screens in our house, says Brandon. Every time you show up, they are always scrolling and they are all different. And it ends up being a conversation about me sticking my brother in the dryer. With the cat. CONTRIBUTING: JUDANN POLLACK LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; THINKGEEK BYLINE: IRINA SLUTSKY SECTION: Pg. 28 Vol. 81 LENGTH: 336 words

WILLIE VADNAIS, COFOUNDER ThinkGeek is one of those magical brands whose multimillion-dollar success stems from nothing but authenticity. No agencies, no marketing strategies-nothing but a few IT guys back in 1999 who thought it would be fun to sell a funny inside-joke-style T-shirt to all the other long-suffering men and women on the frontlines of the creation of the internet. So they did. That original Got Root? T-shirt sold out. And this year ThinkGeek is expected to sell close to $65 million in merchandise and has more than 400 T-shirt designs available to all manner of geek. We focused on a niche, but we were that niche, said cofounder Willie Vadnais. We were the customers. Even though most of the merchandise sold by ThinkGeek is not available at mainstream retailers such as Target or Walmart, part of its success is that there is a little bit of geek in everyone. A lot of the stuff we carry does appeal to a lot of people. Star Wars is a very popular movie, and thats one of the things weve sold the most over the years-light sabers, the ones that light up, Mr. Vadnais said. Back in the 1990s, Mr. Vadnais, 40, started a dial-up internet service in Northern Virginia with three friends. Soon the sideline of selling T-shirts-Chicks dig UNIX-earned real money, so the friends decided to make it into a business. ThinkGeek expanded into products like the popular Star Trek Pizza Cutter and the trendy Bacon plush toy that says Im Bacon! when squeezed. But its not just the merchandise that makes the customer feel geeky-its the 360 degrees of geek philosophy. From the packaging to the customer service, all are steeped in the geek culture. We understand the people were marketing to, Mr. Vadnais said. Its a gut feeling. Perhaps another reason for ThinkGeeks success is the proliferation of technology and what Mr. Vadnais calls the ascendancy of the geek. But we have not been called out as jumping on the geek bandwagon because we have been around since the early days.

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; TRESEMM BYLINE: JACK NEFF SECTION: Pg. 24 Vol. 81 LENGTH: 336 words

DEREK BOWEN, VP-MARKETING FOR U.S. HAIR CARE, ALBERTO-CULVER In a fight with behemoths Procter & Gamble Co., Unilever and LOral, it would be hard to pick Alberto-Culver Co. and Tresemm to win. Yet that pairing has been successful enough to attract a buyout offer from Unilever for the whole company, expected to close early next year. The midtier value brand was the only one among major entrants to gain share in U.S. shampoo, conditioner and styling alike last year, according to SymphonyIRI data, putting it close to overtaking Garnier Fructis for No. 2 overall in mass hair care and styling after taking No. 1 in styling more than two years ago. A resurgent Fructis from LOral and a restage of P&Gs Pantene put Tresemme under new pressure this year. But three major initiatives in shampoo and conditioner more than made up for that, helping Alberto-Culver gain more than a point of market share in conditioner and more than two points in shampoo last quarter, according to IRI data from Deutsche Bank. The professional affordable positioning that has been part of Tresemms heritage for decades has

been particularly relevant during the recession. But two product launches and a restage also played a big role, said Derek Bowen, 40, VP-marketing for U.S. hair care. The veteran of P&G, where he was once brand manager on Old Spice, and Henkel, where he worked on U.S. laundry and personal care, has worked on Tresemm as marketing director, global VPmarketing and most recently U.S. marketing chief since 2007. On his watch, Tresemme has grown from a 4.7-to a nearly 6.8-share brand in mass hair care in the U.S., up more than 40% in sales in a category that has seen flat to low-single-digit growth in the past year. This year, a restage of the brands line for color-treated hair, a new Naturals line with botanical extracts, and Fresh Start, a line of dry and waterless foam shampoos, have each exceeded expectations, Mr. Bowen said, with the latter becoming the brands No. 3 product at many retailers. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; VIBRAM USA BYLINE: ANNA BASKIN SECTION: Pg. 16 Vol. 81 LENGTH: 352 words

TONY POST, PRESIDENT-CEO

It isnt easy to reinvent a 75-year-old company, especially with a product that people have deemed ugly and disgusting, but thats exactly what Vibram has done in the past few years with its FiveFingers shoes brand. The Italian rubber-sole makers U.S. affiliate, based in Concord, Mass., has taken off running with its line of thin, stretchy fitness shoes that emulate being barefoot, aided by recent research on the benefits of barefoot training. Vibram USA President-CEO Tony Post, a longtime runner, was training for a marathon in 2005 when he injured his knee and had to have surgery. After doctors recommended he stop running, Mr. Post decided to try out a prototype barefoot shoe developed by Robert Fliri and Marco Bramani (Vibram founder Vitale Bramanis grandson). While Messrs. Fliri and Bramanis shoe wasnt created for sport, after Mr. Post found himself running seven miles in them with no knee pain, a new idea was born. We knew we needed to develop a positioning and decided on fitness training, Mr. Post said. Sneakers limit your range of motion and dont let you get feedback from the environment. The idea was that the product would strengthen muscles in the foot and lower leg. While FiveFingers began a PR campaign in January 2006, the company found its first consumer advocate in Barefoot Ted McDonald, a barefoot enthusiast who ran the Boston Marathon in FiveFingers that April. News of the shoes began to spread quickly online; and by June 2006, Vibram was sold out of the product. In 2007, Time named FiveFingers one of the best inventions of the year. With no traditional advertising to date, Vibram FiveFingers has grown from about 10,000 pairs sold in 2006 to 1.5 million pairs of shoes sold in the past year, with products tailored for activities from yoga to kayaking. It is projected to double those numbers in 2011, said Mr. Post. Vibram will begin print advertising this month to get visitors to its microsite, YouAretheTechnology.com. Created by Nail, a Providence, R.I.-based agency, the site demonstrates how the human body is built for running. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 WENDYS BRINGS BACK NAMESAKE BYLINE: MAUREEN MORRISON SECTION: Pg. 3 Vol. 81 LENGTH: 105 words

The Thomas family is making a return to Wendys advertising. An ad featuring the real Wendy Thomas, the chains namesake and daughter of founder Dave Thomas, broke Nov. 8 in Las Vegas as part of a promotion for a test cheeseburger called Daves Hot N Juicy Cheeseburger, named after Mr. Thomas. Who better to introduce the line than Wendy herself? After all, Dave named the chain after her, Denny Lynch, senior VP-communications for Wendys International, said in an email. The ad, produced by Publicis Groupes Kaplan Thaler Group, is also airing in Virginia Beach, Va. , and Mobile, Ala.-two other test markets for the new burger. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010

AMERICAS HOTTEST BRANDS; WWE BYLINE: ANDREW HAMPP SECTION: Pg. 27 Vol. 81 LENGTH: 389 words

MICHELLE WILSON, EXEC VP-MARKETING, WORLD WRESTLING ENTERTAINMENT Although its a nearly 30-year-old franchise, World Wrestling Entertainment may be having its biggest year yet in 2010. Since transitioning from an adult-targeted TV and event property to a familyfriendly, PGrated property in 2008, the WWE has conquered more platforms and pop-culture milestones in the last two years than nearly all of its previous iterations. With popular programs such as Monday Night Raw, airing on USA, and WWE Smackdown, on Syfy, WWE content is regularly viewed each week by 14.4 million Americans-only 60% of which are male, according to Nielsen Media Research. The cross-generational appeal has also opened new doors for the wrestling brand. Earlier this year, the company partnered with Mattel for a global deal to license and develop WWE-branded toys, which already rank as the fourth-largest property in the action-figure category in terms of sales. And it also inked a deal with Walmart as the exclusive retail partner for releases from WWE Films. Ten to 15 years ago, a lot of our core fans were coming to us for edgy superstars like Stone Cold Steve Austin, said Michelle Wilson, WWEs exec VP-marketing. Our fans loved that content and shared it generationally, so as those fans got older in their late 30s and early 40s, they wanted to be able to watch the WWE and enjoy it with their kids. The lighter touch has also caught the eye of Hollywood, with Raw doubling as a talk-show-like vehicle. Celebrities including Donald Trump, Toby Keith, Jeremy Piven, Snoop Dogg and Ashton Kutcher have stepped into the ring to promote their projects. We get more viewers for Monday Night Raw than all the late-night shows, so the publicists realized, if theyre going to promote a movie, theyll get a much broader audience, Ms. Wilson said. Also coming by early 2012 is the WWEs own cable network, which Ms. Wilson said will launch in conjunction with distribution partners such as Time Warner Cable or DirecTV. But all the exposure hasnt affected WWEs core business: events. This years WrestleMania XXVI, held at the University of Phoenix Stadium, attracted more than 72,000 fans and grossed more than $5.8 million in ticket sales. Thats an even bigger turnout than the 71,000 fans who attended Super Bowl XLII in the same venue. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; MIAMI HEAT BYLINE: MICHAEL BUSH SECTION: Pg. 26 Vol. 81 LENGTH: 359 words

MICHAEL MCCULLOUGH, EXEC VP-CHIEF MARKETING OFFICER Shuffle the letters around in the word heat and eventually youll end up with the word hate. And theres no better way to measure just how successful or hot a sports team is than by gauging the amount of hatred sports fans around the world have for it. This past summer the NBAs Miami Heat were suddenly not only the leagues hottest property, but the target of the type of venom reserved only for the likes of the New York Yankees and Duke mens basketball team-thanks to 16 words: This fall Im going to take my talents to South Beach and join the Miami Heat. With Dwayne Wade and Chris Bosh already on board, LeBron James announced, during his infamous Decision 2010 ESPN broadcast, that he and his talents would be suiting up for the Heat, too. But haters and the resulting media blowback werent the only things the franchise had to deal with after signing three of the leagues top players. There were also plenty of new fans from every corner of the world inquiring about tickets and lining up to drop cash for jerseys that hadnt even been produced yet. Michael McCullough, exec VP-chief marketing officer of the Heat, said the team doesnt divulge

ticket or merchandise sales figures but said in the 30 days following The Decision it sold more merchandise than it did in the 30 days following the Heats 2006 championship win. The mindboggling thing about that is that we didnt have any merchandise for the new players yet, Mr. McCullough said. We had to scramble. Luckily we had a lot of blank jerseys we were able to convert to Bosh and James jerseys. Mr. James and Mr. Wade currently have two of the top-fiveselling jerseys in the league. On opening night, Mr. McCullough said the team made more on retail sales in the arena than it did during its most successful night during the NBA Finals in 2006. Unfortunately for Mr. McCullough, the new stars didnt mean an increase in his marketing budget, which was actually cut. Luckily the Heat have become a big enough PR machine that the amount of news coverage and earned media has more than made up for the drop in marketing dollars. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 Checkin apps next stop: your supermarket aisles; PepsiCo, Tyson, among those teaming up with Gowalla, Foursquare, CheckPoints to offer rewards for purchase BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 699 words

The next hot place to check in might just be your grocery freezer aisle. Consumer foods players are following in the footsteps of retailers like Gap and starting to acknowledge the potential location-based apps have for them. PepsiCo, Tyson and Seventh Generation are among the major companies teaming up with the likes of Foursquare, Gowalla and CheckPoints, promoting programs that reward consumers for picking up products and giving them added incentives to put that product in their cart. The potential for location-based marketing for consumer packaged-goods brands is massive, said Bonin Bough, Pepsicos global director-digital and social media. PepsiCo, which owns billiondollar brands like Gatorade, Mountain Dew, Doritos, Tropicana and Quaker, has been closely monitoring the area. Pepsi, for example, did a charity checkin program with Foursquare last December. That experiment served as a precursor to its first checkin programs with retail partners, launched in the last few weeks. Through the end of the year, customers earn virtual Tazo bottles for checking in at any Whole Foods, as well as the chance to win a gift card. A week into the Whole Foods program, more than 1,000 virtual Tazo bottles had been collected, according to a spokeswoman. Meanwhile, through Dec. 29, consumers can check in at one of 643 Hess gas stations via Foursquare to get a Brisk and Frito-Lay product combo for $1.99. Via the program, consumers are also entered into a sweepstakes to win free gas and free Brisk iced tea for a year. Tristan Walker, director-business development at Foursquare, said the PepsiCo-Hess promotion is one of the first cases of a CPG company working directly with a retailer to drive in-store purchases. And he expects there will be many more programs like it. Asked whether Foursquare would be doing more such deals, Mr. Walker said, Yes. Stay tuned. We have big plans for CPG. Mark DiPaola, CEO and cofounder of CheckPoints, which counts Tyson and Seventh Generation as clients, believes location-based technology will be a game changer for brands. I think mobile will be bigger for brands than the internet was, because mobile goes with you to the store, he said. We drive feet to the product, wherever its sold in the store, even if its all the way in the back on the bottom shelf. Once a consumer locates and scans the product for points, CheckPoints advertisers also have the ability to serve up everything from a coupon to a recipe to a sweepstakes. In the case of Tyson, consumers are treated to a comical game where a chicken is flicked over a goalpost and splashes into a tub of sauce. The game promotes Tysons Anytizers Dippin Twists as a good snack choice during football season. The goal here is to deliver targeted messaging at that precise moment a purchase decision is made, said Mr. DiPaola. Theyre holding the [Tysons chicken] in their hand, and theyre either going to put it back on the shelf or in their cart. At that moment, we deliver messaging that the advertisers help us develop. Shiv Singh, director-digital engagement and social media for PepsiCo Beverages Americas, also talked about the potential for checkin-ographics. In addition to gathering demographic and

psychographic data on its customers, Pepsi expects it will eventually be able to learn about its customers by studying where they check in and how often. But, Mr. Singh said, the company is well aware that its still early days for the technology, especially in the CPG space. Because of that, the program at Hess will be promoted in store with signage. Eventually, he said, offline promotion wont be necessary as consumers become conditioned to check in and look for deals. On these first two programs, with Hess and Whole Foods, Mr. Singh said PepsiCo is looking to measure how many people check in and how many take advantage of offers. Secondly, the company is trying to understand what type of reward inspires behavior. Were extremely excited about mobile. We feel that its different, as we enter 2011, he said. For the first time digital is not at arms length from the consumer when theyre at the point of purchase. And thats incredibly valuable to us. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; CONAN OBRIEN BYLINE: ANN-CHRISTINE DIAZ SECTION: Pg. 18 Vol. 81 LENGTH: 358 words

Conan OBriens self-described flat tuchus had barely warmed the seat of his new desk on The Tonight Show when things began to sour in January. Not even eight months in L.A., and NBC attempted to edge him back toward Late Night hours in order to accommodate a new slot for Jay Leno, after the predecessors ill-fated go at prime time. In the end, Mr. OBrien decided to leave the Peacock network altogether, but instead of fading from view, his star-and brand-glimmers more brightly than ever, thanks in large part to an army of online fans and a savvy integrated marketing campaign to promote his new show on TBS, Conan. The comedians surge in popularity began in the midst of the late-night debacle, when a swarm of followers rallied around their beloved Coco on the Im With Coco fan-originated Facebook page-now an official site boasting 1,082,740 likes, and on Twitter, where his devoted number at about 1.8 million. Shortly after, Mr. OBrien announced that he would be taking his funny business on the road, hosting the 30-City Legally Prohibited from Being Funny on Television Tour of live shows, sponsored by American Express, many of which sold out on the spot. During the lead-up to the Nov. 8 debut of Conan, the comedian managed to keep fans salivating with a highly entertaining, social-media-driven integrated campaign that-if its anything like the show it promotes-is a promising sign of things to come. The effort so far has featured a Pandoras Box of traditional broadcast promos, Twitter updates, a live webcam, YouTube videos and even a Foursquare-linked dirigible. Much of it originates on the official Teamcoco.com site, now the portal for all things OBrien. Its there that he first announced the name of the new show-Conan, or Conaw, as his sloppy writing suggested-while other videos saw him responding to Facebook comments la Old Spices Isaiah Mustafa. The effort, not surprisingly, has also drawn some major advertiser support. AT&T turned out as sponsor of the flying billboard, as well as accompanying online skits. And his first night back on TV, he bested Jay Leno and David Letterman in the ratings. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; DAWN BYLINE: JACK NEFF SECTION: Pg. 22 Vol. 81 LENGTH: 310 words

DAN JACKSON, BRAND MANAGER, PROCTER & GAMBLE CO. Recession and oil spills are certainly bad, but theyve ultimately helped sell Procter & Gamble Co.s Dawn dish soap in the past year as the brand that combined innovation, value messaging and doing good to do very well for itself. First the recession. It was a boon for dish soap generally as people ate out less and home more. Dishsoap sales rose around 7% last year, according to SymphonyIRI. But Dawn didnt rise as fast as some value brands and private labels. This summer it began what Brand Manager Dan Jackson calls value reframing, including ads from Publicis Groupes Kaplan Thaler Group, New York, and Omnicoms Barefoot Proximity, Cincinnati, pointing out that doubleconcentrated Ultra Dawn products have twice the cleaning power of non-concentrated products that had been gaining share. Dawns average unit price at retail also fell 6% in the 52 weeks ended Sept. 5, according to SymphonyIRI, though Mr. Jackson said price cuts werent part of the plan. Regardless, sales rose 15% to $257 million on a 22% volume increase. Dawns dollar market share was up 3.1 points to 40% and 4.9 points to 41.7% for the 52 weeks and 12 weeks ended Sept. 5 respectively, partly on the strength of a new product launched last year, Dawn Plus Olay Hand Renewal. A wild card for Dawn this year was BPs massive oil spill in the Gulf of Mexico, which came days after the brand launched the annual campaign around its Dawn Saves Wildlife effort. For the past three decades, Dawn has donated enough dish soap to help clean more than 60,000 birds caught in oil spills, but the Gulf disaster put the program under more of a spotlight than ever. It is a rare thing to find a cause that direct links back to your brands core benefit, Mr. Jackson said. And thats why this has been an ongoing program for over 30 years.

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Advertising Age November 15, 2010 AMERICAS HOTTEST BRANDS; U BY KOTEX BYLINE: JACK NEFF SECTION: Pg. 30 Vol. 81 LENGTH: 361 words

ANDREW MEURER, FORMER VP-FEMININE AND ADULT CARE, KIMBERLY-CLARK Kotex had been losing share for a generation, largely to Procter & Gamble Co.s Tampax and Always. Kimberly-Clark Corp.s last big attempt to shake things up-a redesign that broke a category taboo by putting flowers and splashes of red on Kotex packages-only made things worse. So institutional memory wasnt an ally when the company contemplated shaking things up again. The idea was U by Kotex, a premium-priced line aimed at younger women, featuring black packages holding products in a rainbow of wrappers, designed by CBX, New York. Backing the launch were irreverent and unconventional TV and online ads from WPPs JWT and Omnicoms Organic, both New York, that poked fun at the long heritage of category ads featuring cheerful women frolicking in white slacks, followed by the inevitable blue-fluid product demos. In a Break the Cycle campaign online, viral videos showed men approached on the street and asked to buy tampons; a guy in a supermarket fem-care aisle asking women and men for help selecting a

product for his girlfriend; and a highly suggestive inkblot test. Kotex also developed an instructional video on how to use a tampon. It all aimed to shift the hushed conversation toward vagina care. Andrew Meurer-who recently left his post as VP-feminine and adult care for personal reasons-and Organic CEO Marita Scarfi also got attendees at a Cannes seminar on U to shout vagina to break the ice on the topic. Results have been phenomenal since the April launch. Kotexs share was up 2.2 points in sanitary pads and 5.2 points in tampons in the third quarter on sales increases of 13% and 57% respectively, according to SymphonyIRI data from Deutsche Bank. Data including unmeasured outlets such as Walmart and club stores have been better still, Mr. Meurer said. Online efforts helped produce more than 1.2 million sample requests and more than 600,000 other brand/consumer interactions . The launch has won young consumers in a category where that has a big lifetime value. Loyalty to feminine-protection brands is higher than almost any other category in packaged goods, said Mr. Meurer. LOAD-DATE: November 18, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 ILLY ON A MISSION TO CONVERT COFFEE LOVERS; Marketing VP Stotz explains how deliberate marketing and authenticity set brand apart BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 16 Vol. 81

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I was smart enough to bypass my morning coffee the day I interviewed Beverly Stotz, VP-marketing at Illy Caffe North America. Upon arriving at the companys Manhattan office I was handed a cappuccino brewed using one of the family-owned companys single-serve capsules. Single-serve is the future of coffee, Ms. Stotz tells me, and I can see why, after witnessing how easy it is to use and sampling the results. In a time when people are busy and rushed to do so many things, this notion of simplicity, ease of use, yet terrific quality is very appealing to people, explains the 25-year marketing vet who is responsible for all aspects of the Italian coffee companys North American marketing. She reports directly to Barry Sheldon, senior-VP commercial and marketing operations. The company considers its competition to be established names in espresso, like Nespresso, as well as a growing cadre of smaller roasters and producers of gourmet packaged coffee, such as Starbucks, so marketing its Italian authenticity in an increasingly crowded category is a challenge. And while more people are using Illys espresso machines and pods at home, plenty are still looking to enjoy the brand away from home too. To showcase Illys in-store experience, the team has planned a visit to at65, the caf at Lincoln Center. But just as were headed out the door, Illys team realizes the caf isnt yet open. After a quick confab, the group decides well head to The Food Emporium at Third Ave. and 68th St. instead. Ill admit to being a bit surprised; I expected a carefully scripted store visit. But apparently, Illy is just that confident in its retail partners. The baristas brewing Illy typically receive a week of training, Ms. Stotz says. And often, Master Barista Giorgio Milos, a charismatic Italian and longtime Illy employee, visits new accounts to teach them the art of brewing a perfect espresso. I can vouch for his training techniques: The Food Emporium employees, who clearly had no idea Illys VP-marketing was in their midst, served up my second perfect cappuccino of the day. Over our cappuccinos-Ms. Stotz tries to limit herself to three a day, though some of her Italian colleagues have as many as seven daily-the LOral and Hagen-Dazs alum talked about marketing what she says is a discovery brand, why Illy might be in the market for an agency, and the impact cheap espresso drinks are having on the category. Who drinks Illy? First, theyre passionate about coffee. They tend to live in urban centers, and were very much a bicoastal brand and an urban brand. They tend to be professional, highly educated. Somewhere around 25% have a graduate-level degree and the age break would be mid-30s to late-50s. Psychographically speaking, theyre interested in food, wine and in seeking the best in life. How do you market a discovery brand? We could summarize what we do in marketing of Illy here in North America as active engagement.

Ive been here now for 12 years, and I can say that when youre a small brand, when youre really a high-end brand, you have to be very deliberate in the kinds of marketing that you do. We could do a lot of passive marketing or media, but what we believe is that, in order to really convert a consumer to drinking Illy, we need to actively engage them. They need to taste the coffee, try the coffee, and we need to talk to them a little bit and educate them about the coffee. According to Kantar Media, Illy spent just $3 million on measured media last year, so what are you spending on? Weve done a number of initiatives where we tie in with events. An example; We participated in the New York Wine and Food Festival. We had a pop-up lounge for about a week where we were able to bring in foodies, journalists and consumers, to showcase our love of art, one of our core brand associations. At the same time we were sampling and serving coffee the whole week. Thats a good example of experiential marketing. Have you considered an agency of record? Not at the moment, because we dont spend that much in paid media. However, in the digital space, because social media and digital marketing are emerging so much, heres an opportunity to connect with a partner that could understand our ethos and what we stand for, to help us with social media and word-of-mouth marketing. Essentially, were targeting 10% to 20% of the U.S. population, so broadbased stuff doesnt really work for us. Its really about our group of brand advocates and then finding more of them and more of them. Social media and word of mouth is a sweet spot wed like to explore further. How have you seen the competitive landscape shift, with the emergence of cheaper espresso-based drinks from places such as McDonalds? Its great for the market, in general, because it democratizes the coffee experience and it gets more people thinking about espresso-based drinks. If you could consider a trade-up strategy, it would allow people to come in at an entry level, and as their taste gets more sophisticated theres an opportunity to continue trading up. Also, similar to whats playing out in the beer industry with craft brewers, there are a lot of small roasters emerging. How is that impacting the business? These guys have their philosophy on how they do it, and we have ours, and its different. Ours is authentic Italian, thats what we believe in. But in any case theres been a lot of dialogue as a result of Intelligentsia and Blue Bottle [Coffee] and a bunch of these local roasters. Earlier you mentioned single-serve as a big growth area. Why has it been so slow to catch on? Kraft, Sara Lee and Procter & Gamble spent a lot of money pushing single-serve systems in the earlier part of the decade. Changing behavior can take a little bit longer, but I really see a good momentum going now, and every day you see more and more. Retailers are even starting to dedicate huge linear footage in their shelf

sets to single-serve coffee. Illy has teamed up with Coca-Cola on a joint venture to market Illy Issimo, a ready-to-drink coffee beverage. Is that also an area of growth? Its been an incredible synergistic effort. The mother brand Illy really is the driver of awareness and trial, but at the same time, Illy Issimo appeals to young, urban professionals who can now take Illy with them on the go. Its much more occasion-centric. In a way, its an easier access point. Price point is about $2.50. So its a great way to get first trial on the brand and maybe convert them to the roasted product. Do you see your customers coming out of the recession? Were seeing really good growth in the high single digits to close to double-digit growth from a lot of our retailers, Sur La Tabla, Williams-Sonoma. Things are starting to turn around, and were seeing it in our numbers. In the on-premise side, at our partners like Ritz-Carlton and Four Seasons, we know that their occupancy rates are up, that theyre able to again charge room rates that are appropriate for them, so were seeing good positive signs across the board.5 5 TIPS 1. Give partners the tools they need for success. Then trust them. 2. Actively engage consumers; give them a reason to choose you. 3. Become a part of your consumers ritual. 4. Continually refine your distribution strategy to maximize consumption occasions. 5. If youre a high-end brand, give the general consumer a point of entry but stay true to your equity. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Multicultural marketing dollars flowing to mobile, online video; Although budgets are still small, bigger share of spending going to new-media platforms than in the general market BYLINE: LAUREL WENTZ; LWENTZ@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 427 words

Marketers are more likely to use mobile marketing, online video and gaming when targeting multicultural consumers than in the general market, according to a new survey by the Association of National Advertisers. But dont take that as a huge boon for new media in the segment: Though marketers allocated an average of 6.6% of their 2010 multicultural media budgets to new media, many are still spending almost nothing. Twenty-five percent of respondents said they are dedicating less than 1% of their multicultural budgets to new media this year, and 32% are spending 5% or less. The most excitement seems to center around mobile marketing; 59% of respondents said they use or plan to use mobile marketing to reach multicultural customers, compared with 32% of respondents who were asked the same question about the general market in an earlier ANA poll. Some 55% of multicultural marketers said they use or plan to use online video, compared to 50% in the general market. And 20% said they are considering trying Foursquare next year. Among the other findings from the online survey of 90 multicultural marketers use of media that will be discussed at this weeks annual ANA Multicultural Marketing & Diversity Conference: Marketers are less likely to target multicultural consumers using webinars (25%, compared to 65% in the general market), email marketing (70%, compared to 94% in the general market) and organic search engine optimization (64%, compared to 86% in the general market). Where are the dollars coming from? Marketers are tapping multiple budgets to invest in new media. Most are simply shifting money from elsewhere in the multicultural budget-41% from the media budget and 18% from other areas like direct marketing and events. Even more are moving dollars from their general-market budget-30% from the media budget and 33% from areas like promotion and events. Just 29% said they found incremental dollars for multicultural new media. Of the new-media areas theyve invested in, marketers rated search engines-both paid keyword marketing and organic search engine optimization as the most effective, followed by their own websites and video-on-demand. They were least enthusiastic about Twitter, blogs and podcasts.

Although 92% of respondents said they use their own websites as part of their multicultural marketing efforts, only 63% said they have a Spanish-language website, and 18% have an Asian-language website to reach Asian customers. One-third of the marketers surveyed said they didnt have a U.S. website in a language other than English. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 AOLs attempt to spruce up its sites washes away ad revenue; Ad impressions drop, but so do page views, in tough slog to improve business BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 717 words

Its going to get worse before it gets better. Thats been CEO Tim Armstrongs message since he took the job of fixing sick patient AOL more than 18 months ago. Anyone looking for a glimmer of turnaround wont find much in the numbers. Early in the year AOL started cutting back ads in a bid to improve the user experience. But that spring cleaning has stretched into fall-its been cutting down ads, sprucing up content and hacking away at operating costs, all of which has had the two-pronged effect of lowering expenses as well as lowering income.

To wit: in the most recent quarter, AOLs ad revenue declined 27% from the same period last year, while Yahoo increased its digital display revenue 17%, The New York Times Co.s digital ad revenue grew 14.6% and ad network ValueClick saw a slight increase of 1.5% to $106.8 million. What gives? AOL CEO Tim Armstrong says the ad-revenue drop was largely self-inflicted, meaning the company has purposefully pulled back on the amount of ads its sites have been serving in order to offer a cleaner user experience. An analysis of traffic and ad numbers show that while AOL is, in fact, serving fewer ads, it is also serving fewer pageviews, and the proportion of advertising hasnt changed much across its domestic websites over the last 12 months. In September of last year, for example, the company served 12.4 billion ad impressions over 14.3 billion pages viewed, according to comScore, a ratio of almost 8.7 ads for every 10 pages viewed. In September of this year, AOL served 9.9 billion ads across 11.8 billion pages served-about 8.4 ads for every 10 pages viewed, which suggests that users may be experiencing advertising levels similarly to a year ago. To be sure, AOL has steadily served fewer ads altogether over the past 12 months, with 20% fewer total ad impressions in September this year over September last year. But the company has also had fewer pageviews overall, down 17% in September vs. last year. Its audience is also down 9% over the past six months to 104 million monthly uniques, according to ComScore. President of global advertising and strategy Jeff Levick said ComScores data do not entirely match AOLs internal numbers. At this point this year vs. last year, we took down 50% of the ad impressions, he said. We cleaned up the user experience. By removing the number of units, weve seen higher engagement of advertising across our pages. That is the strategy. Mr. Levick said the average time a user spent on the homepage has increased 18% year over year, per internal numbers. Of course, its better for users, he said, but from an advertiser point of view, the way we see it, its like saying, Would you like to share the stage with three other advertisers, or would you like to have it to yourself? Part of that strategy involves the companys new ad units, one of which, dubbed Project Devil, is a large new unit that includes several modules for content, images, video, Twitter feeds, Facebook integration and the like. It has already started appearing on AOLs Moviefone and Stylist sites, and will roll out to its redesigned homepage in the coming months. AOL has repeatedly said it is sloughing off non-core assets, such as certain parts of its international businesses. Third-quarter domestic-display ad revenue is down 8% year over year, but up from the first quarter-a stat Mr. Levick points out to illustrate investments are paying off. In the meantime, Mr. Armstrong is preaching patience. He expects the company to have another rocky quarter, but expects revenue to start increasing by the second half of 2011: Ill personally be very disappointed if I cant get that to happen. More specifically, Mr. Armstrong said the company is looking to build and buy more profitable

content verticals, which includes video; to exploit local opportunities through its crowdsourced-news division, Patch; and to lock down AOLs 2011 advertising pipeline. The company paid $120.2 million in cash and incentives for three acquisitions-video-syndication company 5Min Media, web-software maker Thing Labs and tech blog TechCrunch-underscoring Mr. Armstrongs strategy to build AOL into a content and distribution business. But he warned observers that one of his fundamental rules of acquisitions is no Hail Mary passes. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Best Buy says blast is based on research; In attempt to target chief gift giver (mom), the company unleashed marketing earlier this year BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 3 Vol. 81 LENGTH: 535 words

Kids were still sorting through their Halloween haul when Best Buys first yuletide spots began airing. The retailers first holiday commercials launched Nov. 1, some 10 days earlier than last year. Christmas Creep? Best Buy says no; its new strategy was born of intense research that led it to target a new customer who starts making their shopping list earlier, requiring an adjustment to its media

buy. Eight months ago, the electronics giant began conducting research around the holiday period, said Drew Panayiotou, senior VP-U.S marketing. What Best Buy discovered was that it should be putting more emphasis on mom, or the chief gift giver, as the company has begun referring to her. Nearly 80% of families with kids purchase a tech-related gift, while 61% of females purchase tech gifts during the holidays, Mr. Panayiotou said. Given those stats, Best Buy began realigning its holiday campaign to appeal to moms and females-a shift for a retailer that had long focused on its traditional, male-leaning target. The change in its target caused a domino effect and moving up advertising to reach women, who tend to be holiday early birds: Mr. Panayiotou said women have already begun crossing items of their holiday lists, or are at least beginning to research holiday gifts. Electronics, after all, require more research than a sweater or action figure. If we went out there and had the same message or a message that was just product and price, [the consumer] would say Tell me that when Im ready to buy the gift, he said. But its OK to start earlier, because we want to have a relationship all through the holiday, and we want to talk to them about things that remove obstacles for them. But what about those consumers who refuse to carol until December and bemoan hanging out the holly before the Thanksgiving turkeys even in the oven? Mr. Panayiotou is unconcerned. He points out that Best Buys consumers are celebrating holidays beyond Christmas, like Hanukkah, which begins Dec. 1. The retailers messaging is also broader this year, including a range of spots that focus on products as well as services, like free tech support, in-store pickup and financing. And there are a dozen commercials-more spots than its ever produced for the holidays-so there will be no wearout. One of the spots that launched Nov. 1 hyped Xbox Kinect as a great gift for the family, while the other introduced Kenneth the Blue Elf and focused on Best Buys free tech support. Kenneth will be a recurring character throughout the holiday, while other spots will build on Best Buys True Stories campaign. The retailer has also changed its media mix this season, emphasizing network TV rather than cable as it looks to reach more women and more families with kids. Digital spending is also up. MDC Partners Crispin Porter & Bogusky is Best Buys creative agency, while Publicis Groupes Starcom handles media buying and planning. Were confident about our marketing plan. Were confident with the feedback from consumers, Mr. Panayiotou said. One thing that came through from consumers is they want help during the holidays, and they want help in this category more than ever. And, it seems, earlier than ever. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH

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Advertising Age November 8, 2010 Target takes a holiday from early ad barrage; You may see tinsel in the stores, but retailer wont run Christmas ads before Thanksgiving BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 3 Vol. 81 LENGTH: 667 words

This holiday, Target wants to give back Thanksgiving. While virtually all major retailers launch Christmas campaigns over the next few weeks, one will be notably absent: Target, which, to spare its customers holiday burnout, is waiting until after the leftovers are in the fridge to begin its barrage. Guests really tire of these messages when theyre started too early in the season, and it doesnt align with where they are in their lives, said Chief Marketing Officer Michael Francis. They look at Thanksgiving as family time and arent yet ready to get into the frenzy that defines the Christmas shopping season. Its an unusual-maybe even brave-move in an environment where its rivals begin hawking Black Friday deals in October and flog Mega Christmas Sale events in mid-November. After all, the holidays are far from a time of comfort and joy for retailers; the 55-day sales period accounts for some $450 billion in sales, or about 20% of their annual take. We certainly didnt make these decisions casually, said Mr. Francis.

Starting several years ago, the retailer wanted to really probe the issue of Christmas creep with its consumers, Mr. Francis said, to find out if they really did care. It looked at guest surveys, evaluated point-of-sale data and began tinkering with its holiday media plan. That led to Target three years ago shifting a few direct-mail dates and slightly pushing back a few broadcast TV spots. Last year, it went a step further, moving almost all of its broadcast commercials to Thanksgiving. Now, the retailer is making a clean break. Well, almost clean. Though its main product push from Wieden & Kennedy begins the weekend after Thanksgiving, there will be a bit of teaser. A two-day sale campaign featuring comedian Maria Bamford as an passionate holiday shopper preparing for the season will debut close to Thanksgiving and run through Black Friday. Its not only in line with what the guest has stated repeatedly, but it has been borne out by the pattern of shopping, Mr. Francis said. The last several years weve seen shoppers shopping much closer to need. The Christmas season, which had been spread over six weeks, is becoming more of a sprint. Of course, the retailer isnt completely turning its back on those shoppers who do like to get a jumpstart on things-and there are folks out there who do. According to the National Retail Federation and Big Research, 13% of consumers plan to begin their holiday shopping before September this year. A quarter expected to begin in September or October, while 41% said they will start in November. (Despite that, less than half of shoppers typically complete their holiday shopping before the second week in December.) So customers will still find holiday trim, lawn dcor and wrapping supplies in Target stores this month. There are also some holiday references on its website. And Mr. Francis says the retailer will be targeting consumers who have proved in years past that they shop early with direct mail and email. One group of guests will receive a communication in mid-November. This season, Target is producing more than 20 spots for its two-day sale effort, the continuing Lifes a Moving Target campaign and Christmas campaign. The main Christmas campaign is built around original Christmas carols from artists such as Guster, Blackalicious and Little Jackie. The full-length songs will be available free on Targets website beginning after Thanksgiving, while 30-second versions will be used in the TV spots. There will also be an extensive social-media campaign along with magazine and newspaper buys, direct mail and circulars. Target is planning a mobile effort and an app for iPad. Overall, its budget for this holiday season will be up slightly, though the company would not discuss specific numbers. We canvassed a wide range of artists and asked them to consider how they might create a contemporary Christmas carol. There was no request to embed products or mention Target, he said. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age November 8, 2010 POLITICAL CHANGE NO REASON TO GET COMPLACENT SECTION: Pg. 12 Vol. 81 LENGTH: 380 words

With the Republicans taking control of the House last week, the more business-minded readers of Ad Age may be thinking that well be sailing clear regulatory seas for at least the next couple of years. Republicans are pro-business, right? And even if the House cant ram anything through the Senate or get legislation across President Barack Obamas desk, gridlock means there will be no new regulations that meddle with the day-to-day operations of the marketing, advertising and media industries. Dont be so sure. Industry watchers from the American Association of Advertising Agencies and the Association of National Advertisers point out that there are a few things to worry about with the next Congress. The first is unpredictability. Many of the Democrats left standing were not those from moderate areas. Instead, they were those from the bluest of blue districts. No one knows yet how theyll react to the new reality. Even less is known about how the few remaining moderate Democrats will behave. And while Republicans are typically seen as pro-business, there are many first-timers in this new class and they-and a number of the veterans-owe their seats in part to the tea party. And while the tea party was very supportive of small businesses, one of its key flashpoints was the bailout of big businesses as well as corporate welfare-i.e., tax cuts lavished on major corporations at the expense of smaller ones.

Consider, too, that the Republicans see their top priority as closing the budget gap. One way to do that is to close tax loopholes and get rid of deductions. Even if they cant do it on a national level, look for state governments to consider the option. Finally, while gridlock may be the friend of Wall Street, it may turn out to be an enemy for the industries we cover. As weve said before, when Congress cant get major bills passed or is sliding even lower in voter-favorability polls, it tends to look for common ground. We can think of a few useful villains in our sector: marketing to children; the obesity epidemic caused by fast food and fast-food advertising; pharmaceutical advertising; cable monopolies; and, of course, internet privacy and behavioral targeting. These things might not be on anyones radar now, but perhaps we should all be prepared. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 5 REASONS TO ENGAGE EMPLOYEES IN YOUR MARKETING STRATEGY SECTION: Pg. 21 Vol. 81 LENGTH: 161 words

THEYRE CONSUMERS, TOO Their opinions are already fully formed and ready for you to tap. THEYRE ON THE FRONTLINES

The product should always be the focus in marketing, but its delivery is crucial-and employees are charged with making that delivery. Investing in their knowledge will pay off. IF YOU SELL THE MESSAGE TO THEM, THEYLL SELL IT FOR YOU You have to convert your employees before you can expect to win over consumers. If successful, youll gain genuine, loyal ambassadors for your brand. IT HUMANIZES YOUR BRAND Using employees rather than the CEO makes your message instantly less pitchy, and consumers are more likely to trust people they can relate to-people like them. YOU MIGHT JUST GET SOMETHING Remember, this isnt just a ploy. Tapping your talent for their creative input could produce a sea of duds, but it is also likely yield some solid, workable concepts that fit your brand. (And that a winning idea came from the mailroom is a PR line in and of itself.) LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Employees no longer baggage, but blessing; Kraft, Fidelity, others tap workers not just for ads but focus groups, brand ideas and more BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 1 Vol. 81

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Forget brand as hero. Today, employees are the heroes. Marketing 101 teaches that the focus must be on the product and its attributes, but its also coming to recognize the role of employees as brand ambassadors-not just as the face of a brand in campaigns for companies such as Pizza Hut and Overstock.com, but also in an important behind-the-scenes role for companies such as Kraft Foods, where employees serve as everything from focus group participant to product developer and social-media evangelist. Put simply, employees-who became collateral damage during the recession as companies downsizedare now emerging as brands best assets. While employees have always been the front line of customer interactions for brands, particularly those in the service industry, a number of factors of late have brought them more to the fore, including a more transparent and socially engaged society, a still-fragile economy where everyday value trumps aspirational brand attributes, and an ongoing lack of trust in corporate America and CEO spokespeople. Its moved from treating employees as a liability when it comes to communicating to now treating them more as an asset of engaged people who live and breathe your brand, said Rohit Bhargava, author of Personality Not Included and senior VP-strategy and planning at Ogilvy. Employees need to be a part of the marketing supply chain, said Jim Speros, CMO of Fidelity Personal, Workspace and Institutional Services. Many companies forget that their employees are their ultimate brand ambassadors. Overstock hasnt. Its new TV spot features those ambassadors as stars, some 30 of them singing while they work at jobs from customer service to warehouse shipping as they get ready for the holiday season. Its the world of social that we live in. Consumers want to deal with a real company, said Stormy Simon, Overstock senior VP-marketing and customer care, who herself has appeared in previous ads. Were showing our employees as the face of our company in this age where in the last few years, people have lost some trust [in corporate America]. These are people you can relate to our real employees, and were letting them do their thing. You no longer need to hear it from the CEO. In fact, you may not want to hear it from the CEO. If we went out and had the president of Pizza Hut say how We really care about you and the food were making for you, I just dont think it rings quite as true, said Kurt Kane, VP-marketing at Pizza Hut, which recently introduced a campaign themed Your Favorites. Your Pizza Hut that features eight actual restaurant employees. Right now, with consumers financial challenges, if theyre spending money they want something they know they will get value out of. Were showing them that what theyre spending their money on, someone really cared about making.

The Pizza Hut ads also serve an internal purpose, generating buzz inside the company and among franchisees. At a recent franchisee conference, Mr. Kane introduced the eight stars of the ads to a standing ovation. Morale is up as well, he said, and the ads help set the recruiting and customerservice bar for potential Pizza Hut employees. Southwest Airlines, whose employees have been featured in ads for years, began its most recent employee-starring effort, Bags Fly Free, last fall, showing fun-loving real baggage handlers on the tarmac hammering home the message. Since that began, Southwest has noted a shift in the importance of free baggage to travelers which it attributes to the ads. Free bags has moved up as a reason for choosing an airline and is now one of the top five, a Southwest spokeswoman said. Southwest previews its commercials internally via its intranet, SWA Life, which also serves as a conduit of advertising ideas and suggestions, either independently generated or in response to Southwest queries to staff such as, Tell us about one of the biggest complaints youve ever had or What do your customers love about Southwest? the spokeswoman said. They are delivering the message for Southwest on the ground. They are our best advocates, she said. Indeed, gone are the days of hiding marketing ideas and ad campaigns from employees for fear of information leaks. Instead, marketers are consulting employees-who are, after all, themselves consumers-for advice and ideas on marketing, previewing ad campaigns with them before the ads go public and getting them involved in the marketing message. Take, for example, Kraft, which has begun using an app dubbed Foodii (pronounced foodie), an internal online community of about 2,000 employees it uses to gather information before doing formal market research. The goal is not only to get to market faster and improve a products chance of success, but also to get employees engaged and give them an insider look at initiatives and products, a Kraft spokeswoman said. Foodii was used recently to help choose a name for a new Jell-O Mousse Temptations flavor. Within 24 hours, Kraft got more than 100 ideas from employees, and the best were sent to external market research. The winner, Chocolate Mint Sensation, was suggested by an employee. Kraft also used Foodii to test the preparation method, to find out if it should recommend one pot or two in advance of the introduction of its Homestyle Macaroni and Cheese Dinner. The spokeswoman said Kraft is looking to expand Foodii to get further diversity of employee opinions. Employees are the actual heart of the brand, said Mr. Bhargava. Yes, the products are important, but especially for service-based businesses, its all about the people. This is letting people connect with the people behind the brand, not just what you put in your mission statement. In other words, the employees have to understand and deliver what the brand is all about. Its one thing to make a promise in an advertisement, but if you havent let your employees know what that promise is, its going to backfire, said Jennifer Schade, president of marketing consultancy JRS Consulting.Employees want to feel like insiders, they want to know the scoop, said Mary Gilly, marketing professor at the Paul Merage School of Business, University of California, Irvine.

To get that scoop, several weeks before the launch of Fidelitys Turn Here campaign, the campaign was rolled out inside the company. An internal website explained the creative, detailed the positioning, offered FAQs and explained employees role in the message and ongoing process. More than 28,000 employees spent an average of eight minutes exploring the site, Mr. Speros said. The plan was to make sure employees understand why Turn here is a solid strategy and serve up visible examples of it in emails, video posts and public forums. Fidelty hosted a breakfast club with 300 to 400 employees to talk about the campaign as part of the effort and worked with employee training to sync ad messaging with what was being taught on the front lines. And its important to continue the effort beyond the ad campaign. Fidelitys Mr. Speros advises creating and maintaining an internal marketing effort vs. rocket flare internal marketing or onetime only blasts to employees right before campaign launches. Build an internal communications campaign that is continual, so youre always getting feedback and staying connected, he said. The result will be more highly engaged employees, better morale and pride, and ultimately better business results. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Shoppers, retailers divided on timing of seasonal onslaught; Consumers may complain, but shopping habits prompt Kohls, Macys and others to early blitzes BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 2 Vol. 81

LENGTH: 454 words

Its impossible to say when Christmas Creep first cropped up, though the Peanuts gang was already bemoaning the trend in the 1974 classic Its the Easter Beagle, Charlie Brown. The kids head out to buy Easter supplies and are disgusted to find Christmas decorations cluttering the store and a sign reading Only 246 Days Until Xmas. It wont go that far this year, but the bulk of major retailers are still kicking off holiday campaigns nearly two months before Christmas. Best Buy began its holiday effort on Nov. 1, 10 days earlier than last year (see story, opposite page.) The following day, Kohls debuted its first holiday radio spots and will promote Christmas-themed sales throughout November, though it will wait until after Thanksgiving to run TV spots. Macys holiday campaign kicked off on Nov. 7 with an animated TV spot that drew inspiration from the retailers Yes, Virginia holiday special. JCPenney began running a holiday ad promoting its relationship with the Salvation Armys Angel Giving Tree on Nov. 1, though its main holiday campaign wont launch until Nov. 15. Target appears to be one of the few exceptions (see story opposite). In deference to consumer burnout its main holiday campaign wont launch until the weekend after Thanksgiving. Our readers are pretty divided on the whole Christmas Creep thing, said Chris Morran, senior editor at consumerist.com, which regularly documents the creep. There are those that find it truly offensive and gaudy and unnecessary. And there are those that dont care at all and those that actually like it. People are, sadly, getting used to it. And the phenomenon seems to have accelerated in the past few years. Two years ago Kmart launched Early Black Friday sales two days after Halloween. This year, Black Friday-themed sales began the Friday before Halloween. Mike Gatti, exec director of the Retail Advertising and Marketing Association, said things really seem to have accelerated this year. [Retailers] are excited about the potential for it to be a better year, he said, noting the National Retail Federation forecasts a 2.3% increase in holiday sales. Its a chance to get out there and grab some market share. Pictures documenting Christmas Creep began rolling into Consumerist.com in mid-September this year. Its definitely happening more and more, said Mr. Morran. And it isnt just Christmas Creep now. You start seeing Valentines the day after Christmas. At some point theres got to be diminishing returns. Mr. Morran also referenced a story he posted on June 24 documenting back-to-school displays in a Union City, N.J. Staples. Students in the area had just wrapped up classes that week. In the words of Charlie Brown, good grief.

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Advertising Age November 8, 2010 KIDS SEEING MORE FAST-FOOD ADS? BYLINE: MAUREEN MORRISON SECTION: Pg. 3 Vol. 81 LENGTH: 251 words

A study released today from Yale Universitys Rudd Center for Food Policy & Obesity charges that fast-food companies are marketing to youth now more than ever-increasingly targeting children as young as two years old-using various media, and rarely offer healthy meal choices, despite the abundance of advertising about them. Rudd Center was expected to announce the findings at a press conference Monday morning. The reports authors studied marketing efforts of 12 fast-food chains in the U.S.-including McDonalds, Burger King, Wendys, Subway and Yum Brands Pizza Hut and KFC. The study said that the fast-food industry spent more than $4.2 billion on marketing and advertising in 2009, according to Nielsen Co., focusing extensively on TV, the internet, social-media sites and mobile applications. Despite pledges to improve their marketing practices, fast-food companies seem to be stepping up their efforts to target kids, said Jennifer L. Harris, lead researcher and director-marketing initiatives at the Rudd Center, in a statement. Today, preschoolers see 21% more fast-food ads on TV than they

saw in 2003, and somewhat older children see 34% more. Among other findings, the study examines the disparity in advertising aimed at minority children vs. their white counterparts. According to the results, African-American children and teens see at least 50% more fast-food ads than their white peers. For more details about the study, updates to this story and response from marketers, see AdAge.com. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Foxconn crisis proves need for global PR; Suicide factory case part of growing trend in foreign companies seeking image counseling from U.S. BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 1126 words

Foxconn, the China-based technology manufacturer that produces iPhones and iPads for tech giant Apple, had a major corporate-reputation problem this summer. After nine separate incidents involving workers leaping to their deaths as a result of overly-strenuous working conditions, the company was labeled the suicide factory. With little to no experience in speaking with the media or consumers, no PR strategy to speak of throughout its 35-year history and its sights set on establishing a bigger presence in the U.S., Terry

Gou, founder of Foxconn, found himself in the middle of an international PR nightmare and looking for help. He turned to WPPs Burson-Marsteller. The agency and its global head, Mark Penn, have a long history of managing high-profile crises for companies such as AIG, Ford, Blackwater and Virginia Tech. Mr. Penn said he could not discuss the nature of the relationship between Burson and Foxconn but said there are certain outreaches we have assisted them with. The most notable of those outreaches resulted in an all-access Bloomberg Businessweek cover story in mid-September. In the article, which included interviews with employees about working conditions, Mr. Gou discussed his company, his personal life and the suicides. He admitted that it wasnt until the fifth one that he decided to do something different. (And it wasnt until after the ninth suicide that the company sought the help of a PR agency adept at handling a crisis.) Foxconn is just one of a number of billion-dollar companies headquartered in an emerging market that, despite having products used every day in the U.S., have no presence or brand identity here. While other companies dont have to address an alarming suicide rate among employees, there are challenges to telling their stories and establishing a brand and relationships with U.S. consumers, media and politicians. Mr. Penn said this type of work is definitely a growing component of Bursons business and adds that its not always a crisis that leads these companies to his agencys door. Recently a big foreign telecommunications company came to us asking how to create and strengthen its global image, Mr. Penn said. Several companies from different parts of the world have come to us with a similar problem, asking, How do we now tell our story to the rest of the world? This type of work is going to become a really important part of a global agencys business. Industry executives said there are a number of RFPs in the pipeline focused on this type of work from the energy, consumer, technology and telecomm sectors. The work is not only coming from Brazil, Russia, India and China but areas such as the Middle East and Portugal as well. To be effective, Mr. Penn said these companies typically need to refine the narrative of what they do and how they grew up so fast. They need to do a lot of upfront work so the program is targeted and shaped correctly. The problem for most of these companies is that they are vastly unfamiliar with the inner workings of American media, advertising, politics and government affairs. One agency CEO, who asked not to be identified, said the Toyota and BP crises both point to what can happen when a companys leadership doesnt fully understand the American marketplace or have someone managing the crisis that Americans trust. Margery Kraus, global CEO of independently owned APCO, has been helping foreign companies break into the American market for years. She is seeing an increase in the number of national companies wanting to expand into the U.S. market in the wake of the recession but said those that try it on their own often make near-fatal mistakes before looking for help.

To be successful they need an education on how our market works, what is reputation and how do you build it and who are the people they need to know to have permission to operate in both a formal and informal sense, Ms. Kraus said. Many of these companies also have to overcome the fact that they are from countries that are misunderstood or feared by the U.S., such as Russia and China. Industry executives said the majority of these new companies view things entirely through a business lens, with a heavy focus on ROI and very little attention paid to things like brands and reputation. The concept of investing resources to build reputation is slowly being grasped, but only by the more sophisticated. According to Harris Diamond, CEO of Interpublics Constituency Management Group and PR shop Weber Shandwick, the challenges in working with these companies include getting them to understand the value of brands and how that differentiates them in the marketplace, especially when companies that have grown up in an insular world are used to selling themselves simply on price. Getting them to understand the long-term nature of building a brand and that its not three-to-six-month project can also be a formidable task. And we have to explain to them that it goes beyond marketing to their customers, Mr. Diamond said. Theres a broader universe like employees, potential customers and industry they dont have a history of speaking with. We have to teach them that its not as specific as they think it is. Weber Shandwick recently won a sizable pitch for a Seville, Spain-based solar-energy company, which is expected to build one of the largest solar plants in the world in Arizona. The company is looking to Weber for help with establishing a corporate brand image and executive visibility with U.S. media, as well as consumers. Paul Cohen, partner in the corporate practice of Omnicom Groups Ketchum, said the key to driving successful business in the Western world is having a good reputation in the U.S. His agency is working with a major Russian energy company on changing consumer and media perceptions in the West. The assumption is that these companies are using energy as a political weapon but they arent and you have to work hard to demonstrate the commercial nature of their actions, Mr. Cohen said. Rob Rehg, president of Edelmans Washington, D.C., office, said one of the biggest challenges hes encountered in the space is getting a company that has never dealt with a PR shop to take its advice over that of a lawyer. Mr. Rehg, who focuses heavily on negotiating the political channels for marketers trying to break into the U.S., said lawyers are completely counterproductive in the political community. These companies dont always put a premium on the need to manage their reputation and that is essential, Mr. Rehg said. In speaking to the policy community, Mr. Rehg said the key is to translate what contribution a company can make to the U.S. economy in terms of jobs, tax contributions and philanthropic giving. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH

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Advertising Age November 8, 2010 CAN GREEN MARKETING WORK? SECTION: Pg. 19 Vol. 81 LENGTH: 291 words

Consumers have been rejecting green product offerings in many categories of late. Here are some of the ways to make green marketing work. - Dont expect much or any sacrifice from consumers. Whether it be paying more, accepting less performance, sacrificing convenience (with bottled water) or even listening to a loud snack bag, consumers have shown theyre not willing to sacrifice much to buy green. - Dont overstate the case. Consumers will find out when green products dont work, and will tell others. Proposed Green Guide standards from the Federal Trade Commission make it more likely that claims that mislead will be subject to litigation. - Do have selling points beyond green. For most other consumers, green is, at best, a tie breaker. If the product doesnt have some other functional, sensory or emotional benefit, it probably wont fly outside of highly fragmented categories that can live on truly eco-involved dark green consumers. - Green marketing may work best indirectly. That is, by showing how companies change broad practices and seek to improve corporate images with consumers rather than sell specific products based on green appeal. Most environmentally-friendly consumer behavior takes behavioral changes. Generation Y and Millennial consumers are more likely to embrace them, but it will take time for the market to develop.

- Consider going green outside the U.S. America is the 24th most skeptical among 25 countries surveyed by GfK, ranking below all countries other than the U.K., in belief that environmental pollution poses a serious risk (62% of Americans do believe that though). While Frito pulled its noisy bags in the U.S., its sticking with them in Canada, humorously offering free ear plugs to complainers. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 HAS GREEN STOPPED GIVING?; Seeds of consumer revolt sprouting against some environmentally friendly product lines BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 995 words

Green marketing, a movement so hot that not even a deep recession could kill it, is starting to show signs of consumer revolt. At the very least, its a signal that green alone isnt enough of a marketing proposition; at most, it could signal consumers simply arent buying the benefits of environmentally positioned products and brands. In recent months, sales have begun to slow in categories such as green cleaners and grow in not-sosustainable ones like bottled water as shoppers decide they may not be worth the tradeoff. And a September study showed big swings in the number of consumers who believe environmentally

friendly alternatives are too expensive, dont work as well as other products and arent actually better for the environmentall of which seem to add up to what Timothy Kenyon, director of the GfK Roper Green Gauge study, calls green fatigue. Take bottled water, long the nemesis of environmentalists. It was on track for another 52 weeks of decline but rallied nationally last quarter as sales rose 4%, according to SymphonyIRI, leaving it flat. Meanwhile, water-filtration devices saw years of double-and high-single-digit sales growth (including a double-digit sales hike in the first half of 2010) turn into a sales decline last quarter, according to IRI data from Deutsche Bank. Then theres Frito-Lay, which last month pulled its compostable SunChips after complaints about how noisy they were. Greener cleaners, which had been one of the hottest trends in household products in recent years, also show signs of a shakeout. Clorox Co. Chief Operating Officer Larry Peiros attributed disappointing topline results in a Nov. 3 conference call to a decline in the natural cleaning segment. We remain, he said, in the No. 1 share position, but were declining pretty much along with the category. Measured sales of Clorox Green Works are actually up 5% for the 52 weeks ended Oct. 3, according to SymphonyIRI, thanks to the brands launch into detergents last year. But that comes after a 17% average price reduction from the initial detergent introduction. And other, older Green Works products saw a 15% falloff in sales for the year, according to IRI data from the 52 weeks ended Oct. 3. SC Johnsons Natures Source has also seen a loss of shelf space and prominence at some retailers this year. Not everyone in green cleaners is singing the blues. Seventh Generation CEO Chuck Maniscalco said the green megabrand has seen double-digit growth this year after a flat 2009. Substantial additional distribution the brand has gotten (along with SC Johnsons other natural brand Mrs. Meyers) in more than 1,500 Walmart stores isnt even much of a factor in that growth yet. Method is also seeing a 20% sales hike so far this year after a tough 2009, said cofounder Eric Ryan, but he said there is a broader shakeout among green brands. We believe green sustainability is a macro trend thats going to continue well into the future, Mr. Ryan said. But a lot of green choices require a change in behavior, and people are very slow to change. In a lot of ways companies are ahead of the consumer on that shift, and thats where youre seeing the shakeout. Mr. Ryan compares green products to the Gartner Hype Curve of tech adoption. The market is moving from the peak of inflated expectations to the trough of disillusionment, he said, but the renewed upward slope of enlightenment and path of productivity lie ahead. The shakeout can help, he said, by eliminating brands and products with faulty propositions. Increased distribution into new categories and retailers may yet drive some green products and categories this year, but some green brands are having trouble holding such gains. Marcal, the oldest and leading national brand of 100% recycled paper products that made gains last year on a major restage, lost distribution at one of its major accounts last quarter-Kroger.

Outside packaged goods, its been a similar story for eco-conscious hybrid cars. Hybrid sales did well last year, up 3% in a market down 21% thanks to a host of new model rollouts, according to HybridCars.com. But this year hybrid sales are down 10% in a market up 10%. And in politics, the brand with the stronger green positioning-the Democratic Party-was soundly thrashed at the polls last week. The economy was, of course, a far bigger factor than the environment. But Democrats in coal-producing and Midwest industrial states were targeted in ads for their support of alleged job-killing cap-and-trade legislation, which would limit and raise costs for carbon consumption. GfK Roper Consulting in its September report found what it described as a dramatic increase in the percentage of U.S. consumers wary of environmentally friendly product alternatives. The share of consumers who think green products are too expensive rose eight points in two years to 61%, while those who believe they dont work as well jumped nine points to 33% and those who believe theyre not even as better for the environment in the first place increased eight points to 38%. What should be most concerning to marketers is that skepticism is on the rise after two years of more consumers having firsthand experience with a growing number of green products. Consumers really do want greener products and companies, said Eric Schwartz, VP of North American laundry marketing for Henkel, but theyre not willing to sacrifice much themselves for those things. Henkel has succeeded with its Purex Natural Elements laundry detergent, which claims the same 95% natural ingredients that other green detergent brands do, but also claims the same cleaning power and sells at the same price as regular Purex. Thats helped it grow sales now for three straight years, Mr. Schwartz said, reaching more than $100 million in retail sales. Consumers want everything they want, plus they want it green, Mr. Schwartz said. When you give them that, its a growth business in any market. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Grupo Gallegos buys general-market shop; Responding to demand from clients such as Target for promotional services, Hispanic agency acquires Nine Two BYLINE: LAUREL WENTZ; LWENTZ@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 365 words

In a sign of the movement toward a total market that encompasses all consumers, U.S. Hispanic agency Grupo Gallegos is buying a general-market promotion shop. The deal lets the agency ramp up quickly in the fastest-growing segment of Grupos business and be more aggressive in the full retail environment that everyone shops in. Theres probably not a more diverse place than the checkout, said John Gallegos, founder and principal of Grupo Gallegos. Grupo is acquiring Nine Two, a 12-person promotions agency with annual revenue of just over $1 million and clients like Dennys, Mr. Gallegos said. We realized we needed to acquire rather than build out because so many clients are asking us to do this. That includes Target and the California Milk Processor Board, which became known in the Hispanic market for Grupos award-winning Spanish-language TV spots but is currently most interested in promotion. In one integrated effort, Grupo reinvented vitamin-rich milk as a beauty product like shampoo or cosmetics and came up with packaging that placed milk in places like a pop-up store in the cosmetics area of Macys. Mr. Gallegos said his client was delighted when CVS drugstores asked for similar milk promotions. Its not about having a Hispanic presence, its about the total marketplace, like the Macys pop-up stores, he said. How do you create a program and activate it nationally, not just in Hispanic highdensity areas? Its not a Hispanic Burger King, its a Burger King. We need people who understand how to do effective promotions for [marketers like] Target. Grupo and Nine Two will move together next spring into Grupos new, bigger office in California surfing mecca Huntington Beach. Don Reddin, who started Nine Two in Orange County in 2004, said Grupos approach came at a time his power tool client Makita was asking for bilingual videos and Spanish-language print ads. One of our most important accounts was saying You need to come up with events around Mexican football and Hispanic audiences, he said.

In a reflection of Californias population, three of his 12 staffers happen to be Hispanic, including a Mexican-born art director and a finance manager from Peru. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 THE WORK BYLINE: Teressa Iezzi SECTION: Pg. 22 Vol. 81 LENGTH: 611 words

H&M GOLD RUN Virtual window shopping. H&M sends shoppers on the run with this new partnership with AR platform startup GoldRun. The GoldRun app lets iPhone users view, interact with and take pictures of H&M clothing and accessories in front of any of the retailers 10 Manhattan locations. The users choose the items they want to view and capture them with their phones to receive an instant 10% off H&M goods. The app will also allow users to try on virtual outfits and post images to Facebook to create their own lookbooks. One of the brains behind GoldRun is CEO Vivian Rosenthal, whos also the cofounder of digital media studio Tronic.

DEVELOPER: GOLDRUN SITE DESIGN: TRONIC STUDIO WEBROOT SOCIAL MEDIA SOBRIETY TEST AGENCY: TDA ADVERTISING & DESIGN Put an end to drunk postings. TDA Advertising & Design, Boulder created this helpful Social Media Sobriety Test for Webroot. Its kind of like the drunk tests you take when youre stopped by a police officer, but at your computer. Install the app onto your browser, and it will operate at key drinking hours. Unless you pass one of three randomly selected keyboard or mouse tests-dragging your mouse in a straight line, typing the alphabet backward or following the finger, it will prevent you from posting to social-media sites like Facebook, Twitter, MySpace or any designated URL. ACD/CW: JEREMY SEIBOLD ART DIRECTOR: NEAL DESAI INTERACTIVE DESIGNER: WES SCHAUBLE CREATIVE DIRECTORS: JONATHAN SCHOENBERG, THOMAS DOOLEY PROGRAMMING: 14FOUR PROJECT MANAGER: MOLLY ENKEMA LEAD DEVELOPER: MATT TYSOR STRATEGY DIRECTOR: RYAN MOEDE TED BAKER #TAKEONTED AGENCY: GUIDED COLLECTIVE Twitter-driven style. At 6 p.m. GMT on Nov. 5, U.K. clothier Ted Baker celebrated the launch of its U.S. online store and promote its fall/winter 2010 line with #TakeOnTed. Conceived out of Guided Collective, the online promotion will enlist eight fashion bloggers to style Ted Baker looks solely over Twitter. The bloggers had 15 minutes to style two looks from a selection of 450 Ted Baker pieces, giving their instructions to a hairstylist, makeup artist and three runners remotely over Tweets to @ted_baker. SKODA MADE OF MEANER STUFF AGENCY: FALLON, LONDON Taking a page from Halliburton. Hard times call for a mean machine. Providing a counterpoint to the sweet 2007 spot, The Baking Of, Skoda and Fallon depict a decidedly meaner manufacturing process. CREATIVE DIRECTOR: CHRIS BOVILL, JOHN ALLISON AGENCY PRODUCER: ANGUS SMITH PRODUCTION COMPANY: SOMESUCH DIRECTOR: NICK GORDON PRODUCER: SALLY CAMPBELL DIRECTOR OF PHOTOGRAPHY: MATHIAS MONTERO EDITOR: DOMINIC LEUNG POST PRODUCTION: MPC MUSIC: PETE RAEBURN AUDIO POSTPRODUCTION: JACK SEDGEWICK MEDIA AGENCY: MEDIACOM ST. JOHN AMBULANCE POPCORN AGENCY: BBH, LONDON Could you help?

BBH, London, staged this emotional cinema stunt to promote emergency-first-aid education on behalf of St. John Ambulance. What first appeared to be a cinema spot about the pleasures of popcorn turned tragic when a child in the film appeared to be choking to death on the snack. After unsuccessfully trying to help her daughter, the tearful mother screams for help, at which point an audience member rushes to the stage and disappears behind the screen, to emerge in the film in time to save the child. Read more about the making of the event and film on the BBH Labs blog. CREATIVE DIRECTOR: ALEX GRIEVE, ADRIAN ROSSI PRODUCER: OLIVIA CHALK ASSISTANT PRODUCER: CHRIS WATLING TEAM DIRECTORS: LOUISE ADDLEY, NICK STRINGER DIRECTOR: JEFF LABBE PRODUCTION COMPANY: SONNY LONDON PRODUCER: GREGORY CUNDIFF PRODUCER: GABI KAY DIRECTOR OF PHOTOGRAPHY: DANIEL BRONKS SOUND: WAVE STUDIOS, BBH (VOODOO) POST PRODUCTION: THE MILL LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 YOU BETTER WATCH OUT-THE CHRISTMAS CREEP IS COMING TO TOWN; If you think he comes earlier every year,youre not just imagining things BYLINE: NATALIE ZMUDA AND KUNUR PATEL SECTION: Pg. 2 Vol. 81 LENGTH: 1207 words

WHATS HOT FOR THIS RETAIL SEASON Smart retailers will be layering plenty of digital and social media into this years holiday campaigns, as they should. Major retailers now boast hundreds of thousands-if not millions-of likes on Facebook; one-third of consumers never leave home without their smartphone; and online shopping continues to be a bright spot. Retailers will be fighting hard for consumers dollars during the next two months, and theyll be looking to technology to give them a leg up on the competition. To that end, there will be plenty of tech trends to keep an eye on: IMITATION TREND: Retailers are likely to launch holiday promotions that borrow a thing or two from hot digital-shopping phenomena like Gilt Groupe and Groupon. With new technology, retailers are finding they too can host their own Gilt-like flash sales-limited-time, limited-quantity online super sales-or promote Groupon-like deals-dramatic discounts that have to gain critical mass before they kicks in. RETAILERS TO WATCH: Walmart recently tested its first group deal dubbed Crowdsaver on Facebook, where 5,000 likes unlocked 18% off a plasma TV. Just last week, Banana Republic, sibling brand to Gap and Old Navy, hosted a three-hour lunch break online sale with 30% off select items and free shipping during a set window. WHY IT WILL PAY OFF: Flash sales are a great way to create frenzy over excess inventory thats proven tough to move. With the pressure of limited timeframes and the lure of slashed rates, retailers have a chance to play into the shopping psychology thats catapulted Gilt from startup to veritable fashion trend. With Groupon look alikes, retailers have the ability to gauge customer interest and predict whether a certain deal will be profitable. Plus, Facebook-based group deals like Walmarts recent effort are yet another way to rack up likes. PERSONALIZATION TREND: Retailers are starting to harness all the purchase data they capture online with personalized offers for shoppers. That means showing customers products theyre actually interested in, rather than making them wade through irrelevant offers. RETAILERS TO WATCH: Sears.com has launched AdYourWay, a tool that serves up personalized product recommendations or deals and promotions based on previous purchases and product searches. Consumers will also be able to follow a product. Familiar to anyone who has used Yapta.com, this option allows consumers to sign up to receive email alerts when a products price drops. Or consumers can set the price theyre willing to pay and be alerted when the product hits that price. Similar efforts are under way at Steve Madden, which has partnered with Mogreet to use customers past purchase history to send relevant deals via mobile messages. WHY IT WILL PAY OFF: Consumers want shopping, especially holiday shopping, to be easy.

Serving up relevant products and promotions could mean time saved for customers and theyll likely love you for it. Personalization also brings the logic of online ad targeting to product search and ecommerce. Mix in alerts for price-conscious shoppers when an item on their holiday list reaches the price thats comfortable, and youve got a guaranteed sale. MOBILE SHOPPING ASSISTANTS TREND: Retailers will give consumers a way to get their questions answered without flagging down a harried sales associate. With more Americans toting smartphones-by 2011, Nielsen says theyll outnumber feature phones in the U.S.-retailers are beginning to provide what Alexandre Mars, CEO of mobile agency Phonevalley, calls mobile shopping assistants. Consumers can now turn to their phones with questions like: What color does this shoe come in? or Where can I find the iPads? RETAILERS TO WATCH: Two days before Black Friday, Target plans to post store maps to its website for download to mobile devices. And at Steve Madden, Mogreet allows shoppers to text short codes and product names to get text messages, images and videos for further product information. Theres also a feature to figure out which stores have desired products in stock. WHY IT WILL PAY OFF: Mobile shopping assistants have the potential to reduce stress for consumers, which means they probably wont be afraid to come back. Theyll also free up over-taxed holiday sales staff. And with solutions like Mogreets, retailers can make sure customers are finding the products theyre looking for, as well as lay the mobile pipe to circle back with consumers the next time a sale or new product drops. NONSTOP SOCIAL MEDIA TREND: Look for constant communication via Twitter and Facebook this holiday season, as well as special offers for followers. Shockingly, last year some retailers were incommunicado during the allimportant weekend after Thanksgiving. Were guessing retailers have wised up this year and will be tweeting and updating Facebook in between bites of turkey. RETAILERS TO WATCH: Last year we took Abercrombie & Fitch, Amazon, Kohls, Old Navy and Target to task for having poor social-media strategies. All of those retailers have since increased their followers, putting even more at stake. Kohls went from 900,000 fans to 2.9 million likes on Facebook, for example, while Abercrombie has nearly tripled its followers on Twitter. WHY IT WILL PAY OFF: Its an interested, captive audience. If consumers have taken the time to like a retailer on Facebook or follow it on Twitter, they care what the retailer has to say. BREAKING DOWN BARRIERS TREND: Retailers will be more closely aligning their online and offline presence this year. Online sales are expected to jump between 7% and 9% to around $31 billion, according to ComScore. RETAILERS TO WATCH: Kohls is allowing customers to redeem Kohls Cash-shoppers get $10

for every $50 spent-for the first time online. And Macys has plans for grab-and-go gift shops on the main floor of its stores, as well as online. WHY IT WILL PAY OFF: Nearly 80% of consumers plan to do at least some of their shopping online this season, according to the National Retail Federation and BigResearch. One-sixth will do more than half of their holiday shopping online. LOCATION-BASED DISCOUNTS TREND: Facebook just launched Deals for its location-based Places feature, which allows retailers and businesses to alert shoppers of discounts and promotions when theyre near a store. Likewise, Foursquare, Shopkick, Checkpoints and Loopt Star all offer rewards for checking in or scanning products with phones once theyre inside stores. RETAILERS TO WATCH: Macys and American Eagle are early adopters in the space, having signed on with Facebook Deals and Shopkick. Best Buy and Sports Authority are also onboard with Shopkick, while Gap has run promotions using Foursquare and is also offering free jeans to the first 10,000 people to use its Facebook Deal. WHY IT WILL PAY OFF: Rewards and discounts delivered when a consumer is already out and about shopping means a retailer might get a consumer to stop into its store, rather than a competitors. Wouldnt it be great if you could actually reward them for actually walking into your store? said Shopkick CEO Cyriac Roeding. In the case of Facebook, a retailer also gets in front shoppers Facebook friends, garnering a coveted mention. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010

WHAT NEW ROUND OF POLITICAL CHANGE MEANS FOR YOU; Ad Age breaks down five ways the new Congress could affect the industry BYLINE: ABBEY KLAASSEN AND KEN WHEATON; AKLAASSEN@ADAGE.COM, KWHEATON@ADAGE.COM SECTION: Pg. 20 Vol. 81 LENGTH: 965 words

With republicans sweeping to victory in the House, executives may be issuing a sigh of relief as they envision pro-business legislation or, at the very least, the sort of gridlock that will mean no antibusiness legislation for at least a couple of years. But marketing, media and ad execs with an eye on the bottom line shouldnt start celebrating too soon. Heres a look at five issues that will make the next two years different from the last two, and there are things-from disappearing tax deductions to possible regulation-to think about.

1. THE POWER SHIFTS IN CONGRESSIONAL LEADERSHIP


The House swings Republican, which sets off a series of committee-chairmanship changes. Most important to watch is the House Energy and Commerce Committee, which has oversight of the Federal Trade Commission and Federal Communications Commission and influence on issues from food marketing to privacy. While the regulators at the FTC and FCC arent going to change, if the chairmanship of the Commerce Committee moves into Republican hands, and they have ability to deal with what kind of money goes to them and who gets appointed, they will take note, said Dick OBrien, exec VP-director of government relations at the American Association of Advertising Agencies. Recent issues taken up by the FTC and FCC include the marketing of green products and the growing concern over online privacy. But according to Stuart Ingis, a partner at Washingon-based law firm Venable, chances are a GOP-led Energy and Commerce committee will be less regulatory than the current chairman, but we dont know who the next chairman will be. Another committee that will matter is the House Ways and Means Committee, which is charged with debt-cutting and tax deductions (see No. 3). Ranking Republican Dave Camp may get the chairmanship, but its still unclear how he would view the ad industry. And beyond the committees, John Boehner, who has a business past that includes sales and marketing experience, will assume the speaker position, replacing California Democrat Nancy Pelosi. Advertisers should expect a Congress with a friendlier business touch.

2. LOOK OUT FOR GRIDLOCK


Some in the business community are cheering the idea of a country divided. With a Republican House and Democratic Senate, gridlock would seem to mean fewer regulations being enacted. But advertisers shouldnt be so sure. Because when the two sides cant find common ground on healthcare or financial reform, they focus on whipping boys they can agree on: decency, marketing to children, privacy. In the past theyve often been able to find across the right and the left some areas of agreement, said Dan Jaffe, exec VP-government relations at the Association of National Advertisers. And, he notes, that often means attacking advertising to draw political attention to issues. The most immediate possibility is privacy regulation. While the FTC seems largely comfortable with the industrys self-regulatory efforts, the politicians in Congress are not as close to the issue as the FTC, noted Mr. OBrien. And every time theres a slip-up, theres the predictable reaction: We have to legislate. That theres one where they could come together, he said. More importantly, however, bread-and-butter issues such as reducing the deficit may gain traction on both sides of the aisle, said Venables Mr. Ingis. 3. OH, YEAH. THE DEFICIT Right after the election, Congress is going to return for a lame-duck session where its likely to decide whether it will sustain the Bush tax cuts. Republicans want to sustain them for all, the Democrats for anyone earning less than $250,000 a year. But against that backdrop will be an effort to reduce the deficit-nearly every Republican and Democrat ran on a platform of fiscal responsibility. The danger for advertisers is the government trying to store up some cash by reducing the tax deductions for advertising. Nearly every expert suggests this is a very real threat as Congress looks toward balancing the budget and offsetting revenue forfeited by extending the tax breaks. And dont think a Republican Congress puts advertisers in the clear. Mr. OBrien noted that the last, most serious, time the government looked at getting rid of that deduction, in the late 90s, it was led by a Republican-John Kasich, who was projected as the winner of Ohios governors race with 96% reporting on Election Day.

4. EXTREME IDEOLOGIES
This election has done nothing if not create a more unpredictable Congress, from the centrist Democrats vowing to fight Obama to the tea partiers vowing they wont be beholden to the GOP. If you once thought a Republican was a Republican was a Republican-well, not anymore. And while centrist Democrats try find their place, those Dems from deep-blue states may veer more to the left. It could make things unpredictable.

5. FINALLY, THE FINANCIAL CONSUMER PROTECTION ACT


The Bureau of Consumer Financial Protection has already been created, and its been charged with creating 243 rules and 60-plus studies. As such, its influence could reach far and wide. The federal agencys future rule-making on a host of ambiguous issues -such as drafting a definition for abusive advertising practices or mandating how much information must be included in adscould result in overly cumbersome, cost-prohibitive and possibly onerous requirements, according to industry watchers. Then again, the new law is an ambiguous outline of Congress intentions; regulators have yet to hone the actual rules. One would think a Republican Congress would take a slack approach, but this bill seemed popular with consumers on both sides of the aisle, and siding with banks and credit-card companies in this economy probably wont go over well with voters of any stripe. EDMUND LEE CONTRIBUTED TO THIS STORY LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Nielsen admits big problems with how its technology measures web; Clients say discrepancies extend beyond the three-month glitch its reported BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 4 Vol. 81

LENGTH: 794 words

Last week Nielsen Co. made a stunning disclosure, announcing that a computer glitch triggered by long web addresses used by social networks was tripping up the system and causing the company to underestimate the time people spend on the web by an average of 22%. The admission, first reported by Ad Age, confirmed some of what the online publishing industry had long suspected: that they were being sold short in a key tool used by agencies to plan media buys. And while Nielsen said the glitches impact data going back three months, clients say theyve been talking to Nielsen about apparent discrepancies in the data for nearly a year, though the company at the time couldnt isolate the cause. As executives at Nielsen investigated that problem, they found others. The company now faces two stiff challenges: fixing the immediate problems with a system that hasnt kept up with the web and rebuilding its image as a provider of trustworthy data as marketers and media are asking for even more complicated metrics that cross TV, mobile devices and the web. What it does is it erodes confidence in one of the primary tools for planning, said Sherrill Mane, senior VP of products for the Interactive Advertising Bureau. Those who are making plans and allocating dollars were using a fundamentally reduced number of users of audience to do their plans. That does ultimately translate to lost money for publishers and websites. Initially, Nielsen thought the problem was isolated to long URLs-2,000 characters or more-that are becoming increasingly common on social networks where web addresses are used during sessions to pass data back and forth between applications and users. If a Nielsen panelist encountered such a long URL by visiting a social network, the entire internet session was thrown out in some cases, leading to a broad underestimation of time spent on websites. Additionally, Nielsen found that its meters were not counting users of Googles Chrome browser because of the long URLs it generates for secure purchases on the web. But the even bigger problem is with the meters themselves. Nielsen depends on a panel of more than 200,000 people who voluntarily install a small bit of software, called a people meter, on their computers, which sends activity back to Nielsen. But those meters can crash without the knowledge of the user and stop recording data until the user restarts his computer, an increasingly infrequent occurrence. We believe social networks are a significant contributor to this, but not the only contributor, said Steve Hasker, Nielsen president of media products. The silver lining for us is our team has been working around the clock and weekends to identify these problems. Nielsen has been steadfast that it believes the problems began three months ago. But some dispute that. Lyle Schwartz, managing partner for research at WPPs Group M, said the company questioned

Nielsens internet-usage numbers in the first quarter when it released its Three Screen Report, which reflected lower-than-expected internet and TV viewing numbers-Nielsen said time spent on the internet fell to 25 hours and 26 minutes a month from 26 hours and 32 minutes the prior year. We saw that internet usage was going down, so we questioned it, Mr. Schwartz said. If the data is telling you something you dont expect, its something to pay attention to. We were told it was accurate. Another person said some publishers came to Nielsen last December to question the numbers and were told the company was investigating discrepancies. Others said they dont believe the problems start and end with the time spent metric. TVGuide.com saw a big drop in unique users across the entertainment category in September, which it brought to Nielsens attention in October. Weve had an ongoing dialogue with Nielsen for over a year-and-ahalf about the quality of these metrics, said General Manager Christy Tanner. We believe strongly that our unique users are under-reported by Nielsen. Nielsen told clients it will update them every two weeks on its progress as it roots out problems and implements fixes. Nielsen Online has hired a new team and is committed to spending tens of millions of dollars over the next 12 months to overhaul and modernize the system, Mr. Hasker said. None of our competitors will do that. Critics of Nielsen say it should be more transparent in the way it collects and analyzes data in the first place and seek the approval of an independent organization such as the Media Research Council (MRC) to audit their data. Neither Nielsen nor its main online competitor, comScore, are accredited by the MRC. Mr. Hasker said Nieslen is working with the MRC to work through the problems and ultimately receive their imprimatur. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 PEOPLE ON THE MOVE SECTION: Pg. 17 Vol. 81 LENGTH: 682 words

DeeDee Gordon has joined Omnicom consumer-branding agency Sterling Brands as president of innovation. Ms. Gordon began her career at ad agency Lambesis, where she created the L Report, the first national marketing report to track trend diffusion in the youth market. She then cofounded LookLook, a research, marketing and trend-consulting company specializing in youth culture. As copresident, she oversaw all research analysis, product development and creative direction for clients such as Microsoft, Audi, Nike and Virgin Mobile, and launched Look-Look Magazine, a usergenerated content magazine celebrating youth in arts. For the past year, Ms. Gordon served as a consultant for companies including Calvin Klein, Research in Motion and Viacom. Porter Novelli has added three VPs to its brand marketing and strategic planning teams. Julie Ann Matic has joined as VP on the Procter & Gamble business, Alan Marcus will serve as senior VP on the Monster Worldwide business and Loretta Markevics has joined as senior VP-planning. Before joining the agency, Ms. Matic was assistant VP at Coyne PR, where she managed such accounts as Casio America, Inc., Kraft Food, and Experian Consumer Direct. Mr. Marcus previously served as VP at MWW Group, where he managed PR and media strategies for Volkswagen Group of America, and before that he was a VP at Ketchum. Ms. Markevics was mostly recently senior VP-senior strategic planner at McCann Erickson, working on clients including Black & Decker, Dentyne and Pfizer. SS+K has appointed John Swartz as VP-director of production and operations. Mr. Swartz was formerly VP-interactive/integrated production at Saatchi & Saatchi, where he led integrated viral campaigns such as JCPenneys Beware of the Doghouse and Miller High Lifes one-second ad. Prior to that, he was director-project management, interactive at DraftFCBi. He is also founder and executive producer of Brainpuppy. He will be charged with broadening SS+Ks range of media production for clients such as Allstate, General Motors, Kraft and Blue Cross/Blue Shield. Unicast has promoted James Dillon from senior VP-global sales and solutions to general manager and senior VP. Prior to joining Unicast in 2005, Mr. Dillon was VP-online marketing at Sony Electronics, as well as director and general manager for Hewlett Packards eBusiness division. He has more than 18 years experience in sales and marketing roles at both Fortune 100 and well as startup based companies. Traffiq has added Eric Picard as chief product officer and Lori Goldberg as senior VP-client services. Both will join Traffiqs management team in November, reporting to recently appointed

CEO Nick Pahade, the digital agency veteran known for founding Beyond Interactive. Ms. Goldberg previously held senior client-facing roles at Initiative and most recently at Razorfish, working with clients such as Capital One, Microsoft and eTrade. Mr. Picard, a Microsoft veteran and founder of Bluestreak, brings over 14 years of industry experience to his new role. Bridge Worldwide has promoted Hank McLendon to chief creative officer. Mr. McLendon joined Bridge Worldwide in 2006 and helped build the Experience Media discipline. In 2008, he moved into the role of executive creative director and led projects for Procter & Gambles personal healthcare brands, including the Prilosec OTC Official Sponsor of You program. Prior to joining Bridge Worldwide, Mr. McLendon founded and served as president of Instreme Interactive. Bridges current chairman and chief creative officer, Peter Schwartz, will retire on January 1, 2011. Jack Goldenberg has been named senior VP-chief technology officer at Meredith. Most recently, Mr. Goldenberg served as chief technology officer, Enterprise Media Group at Dow Jones and Company. He has also worked at Thomson Reuters/Thomson Financial as senior VP-content technology. In his new position, he will be responsible for creating a technology strategy that will support expanding digital content and global information platforms. Submit people moves to Anna Baskin at abaskin@adage.com LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Not-so-secret strategy wins House for GOP: Were not other guy; Party overpowered by Democratic cash but compensated with focused, unified message BYLINE: E.J. SHULTZ; eschultz@adage.com

SECTION: Pg. 1 Vol. 81 LENGTH: 791 words

Hows this for a return on investment: Republicans swept into power in the House on Tuesday despite spending about 16% less on TV ads than Democrats, who lost control of at least 60 seats. That efficiency, however, didnt carry over into the Senate races. The GOP message-less government, spending cuts and displeasure with health-care reform-clearly resonated, especially in the nations slumping Midwestern core, where the partys gains were particularly pronounced. But the deciding factor was not necessarily better advertising. It was the simple fact that Republicans are not Democrats, said one analyst. The GOP had the built-in advantage of not being the incumbents, thus allowing them to be more focused and unified with their message, said Evan Tracey, president of Kantar Medias Campaign Media Analysis Group. In short, the money deficit was offset by having a clear message that they could hammer: Were not them. Democratic candidates and affiliated groups spent $142 million on TV ads in House races through late October compared with $119 million by Republicans and pro-GOP groups, The New York Times reported, citing data from Campaign Media Analysis Group. In the Senate, however, the GOP had to spend more for its gains-and still fell short of a majority. Republicans spent $159 million compared with $120 million by Democrats. (The figures, which do not include local cable TV spots, could shift as more donations are reported.) The ultra-conservative tea party brought energy to the Republican side, and several candidates aligned with the movement cruised to victory, including Rand Paul in the Kentucky Senate race and multiple House candidates. But this newest of political brands might have been an overall drag on Republicans in the Senate, considering that the party lost winnable seats because tea party candidates were seen as too far out of the mainstream. Examples include Delaware, where Christine ODonnell was trounced by Democrat Chris Coons, and Nevada, where Harry Reid battled anti-incumbency headwinds to beat Sharron Angle. All told, the GOP spent an average of $497,908 in TV ads for each of the 239 House seats it won, compared with $759,358 per the 187 Democratic-won seats, with nine seats still undecided, as of the latest CNN projections. For a company, that kind of advertising efficiency edge would be deserving of awards. But in politics, its more difficult to isolate the effectiveness of a particular ad or messaging strategy, said John Sides, a political science professor at George Washington University. This years election proves once again that quantity is not always the clincher. In Connecticut, for example, former World Wrestling Entertainment CEO Linda McMahon, a

Republican, lost the Senate race despite pouring at least $45 million of her own money into the race. In California, businesswoman and GOP gubernatorial candidate Meg Whitman-who helped build the eBay brand into a powerhouse-had trouble selling her own candidacy, despite massive TV buys and a cadre of high-priced consultants at her side. She spent $160 million-including $142 million of her personal wealth-but lost by 13 points to Democrat Jerry Brown, who spent roughly $25 million. Outside groups spent an additional $26 million on behalf of Mr. Brown, and Ms. Whitman got $2.5 million. So, as of the latest tally, Ms. Whitman and her allies spent $52.12 for every vote, compared with $12.61 for Mr. Brown and his backers. (The figures will fluctuate as more ballots are counted and donations recorded.) Money cant buy you love is the big story out here, said Barbara OConnor, director emeritus at California State University, Sacramentos Institute for the Study of Politics and Media. [Ms. Whitman] oversaturated. It probably worked to her disadvantage. But in other races, ads made a positive difference with the right message. Consider the Michigan governors race, where Republican businessman Rick Snyder was a relative unknown until his one tough nerd campaign in the GOP primary. Launched on Super Bowl Sunday last February, the ad emphasized his geeky roots-he started reading Fortune magazine at age 8-and plugged his 10-point plan thats so detailed no politician could even understand it. Mr. Snyder, former president of Gateway, beat Democrat Virg Bernero by roughly 20 points. Mr. Snyder was originally seen as uncharismatic and the ad turned his dullness into a positive, said Matt Grossmann, political-science professor at Michigan State University. More importantly, it went viral. It was replayed on newscasts, Mr. Grossmann said. It got him some national attention as a candidate and it did coincide somewhat with his pitch that he is a business executive that has created jobs in the past. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 What brand marketers can learn from election: Loyalty is built by delivering on a clear promise BYLINE: RANCE CRAIN; rcrain@adage.com SECTION: Pg. 13 Vol. 81 LENGTH: 919 words

As last weeks midterm elections showed, todays marketing environment is not conducive to good old-fashioned brand building. The same kind of raucous political discourse that has driven Democrats and Republicans further and further apart has the capacity to erode brand loyalty across a wide spectrum of products. The angry voters who cast their ballots on Tuesday are the same angry consumers who bought your products on Wednesday, and their allegiance to one candidate or one product is under intense strain. The economic meltdown has put marketing and sales farther behind the eight ball. Up until the Great Recession we were spending money on advertised brands with great abandon. But the bad times have forced us to trade down, and much to our surprise, most of us like the change. In a McKinsey study, almost half of consumers who bought cheaper products thought they performed better than expected. Whats worse, more than a third of the switchers said they no longer preferred higher-priced items and an additional four out of the 10 said that while they liked the premium brand better, it wasnt worth the money. So, according to McKinsey, a growing number of consumers are now in play, and they arent likely to go back to their profligate ways anytime soon. No doubt about it, advertising and marketing is being viewed through a much harsher prism. And the excesses of a few categories diminishes the effectiveness and credibility of all marketing. The political landscape, which has never been strewn with more vitriol, is a major factor in advertisings deterioration. Have you ever seen more ugliness emanating from the midterm elections, especially with the Democrats in such weakened condition and the Tea Partyers so apoplectic about President Obamas alleged subterfuges? And another question: Are people who feel the government is acting unfairly when it makes backroom deals to sway the passage of legislation the most likely to react when they perceive that consumer product companies are also trying to sell them a bill of goods? Will the deterioration of political loyalty affect brand loyalty? As The New York Times observed, In an accelerated culture, our loyalties toward just about everything-laundry detergent, celebrities, even churches and spouses-transfer more readily than our grandparents could have imagined. Now we dispose of phone carriers and cash-back credit cards from one month to the next. Forget the staying power of Johnny Carson; when Jay Leno starts to feel a

little stale, he is shifted to prime time, then shifted back to the late night. The credibility and trust in our institutions-government as well as business-continues to erode, and trust is a key component in advertising acceptance. But now that the election is over and voters got their way, wont the outcome quell their anger? Dont count on it. As the Wall Street Journals Fred Barnes said, The consensus among economists is that unemployment will remain at 9% through 2011. A GOP with a 63 seat House majority and 47 Senate seats will not be immune to the surliest public mood any of us has seen. But angry voters dont have to translate into angry consumers, marketers emphasized at the Association of National Advertisers conference if the marketing process itself changes in fundamental ways. As Ralph Santana at Samsung put it, conventional marketing frameworks dont work anymore. Consumers buy your products not just because theyre better than the competition, but because your brand has a deeper social and cultural connection to consumers. Its a matter of cultural relevance and shared values that gets people to part with their money in todays highly uncertain environment. Whats more, Mr. Santana added, the old consumer demographics arent relevant anymore. Its not age or where you live. Its what is truly binding that brings people together. Or as Marilyn Mersereau of Cisco Systems described it: Consumers might feel connected but they dont feel engaged. Thats why emotional needs of consumers are often the most differentiating attribute, said Mark Baynes of Kellogg. Above all, remain true to the core essence of your brand, advised Joe Tripodi of Coca-Cola. In this environment, brands need to be more collaborative to head off people who dont like them. Let Marc Pritchard of Procter & Gamble have the last word: Marketing is not just about selling products. Marketing is serving. And above all, he said; Fess up when you mess up. As we said in our story on the conference, the 100-year-old group might want to consider a new name for the next century: The Association of Purposeful Advertisers. What concerns me is whether this new rhetoric will turn out to be more than words. After all, Mr. Pritchards redefinition of marketing as serving might not really be a big difference. Didnt good marketers always serve their consumers by giving them products and services that made their lives easier and more fulfilling? And will Samsungs search for a deeper social and cultural connection really substitute for building better products? I think not. What worries me is that marketers might stir the ire of consumers, just as politicians have with voters, by serving up the same old promises in new touchy-feely language. Voters are angry because they wanted change and got the same old thing. Id hate for marketers to make the same mistake.

As one marketer who attended the ANA conference told me: You cant just have a purpose. Your end purpose must be selling something. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Millennials Are Morons trend stories are bad journalism and a slight to an entire generation BYLINE: DAVID TEICHER SECTION: Pg. 14 Vol. 81 LENGTH: 1136 words

A recent print issue of BusinessWeek wondered Are Millennials the New Office Moron? The question was raised on the cover of the magazine, employing whats known in the industry as wood, a tactic familiar to my ilk as the print version of link-bait. The article itself was a joke, retitled Why Etiquette Schools Are Thriving: The fact is, todays young professionals need to be told how to dress and act. Instead of diving deep into millennial workplace habits, reporting on new sociological research or otherwise investigating the question raised, the article read as a two-page advertisement for some womans etiquette school, weakly supported by the tired stories of college students losing out on job opportunities due to inappropriate Facebook pictures. To anyone whos ever worked in PR, its clear where this story was conceived. Somewhere out there is a very happy publicist.

If this story were the only one of its kind, Id be laughing instead of fuming. But its not. Hardly a day goes by that I dont see another article, blog post, or TV segment, harping on Gen Y, warning the world of all our ills. Its come to the point where Ive received work emails from respected professionals blaming a failure to deliver materials on a subordinates typical Gen Y behavior, not knowing that, being 25, I might take offense to such a suggestion. Ive heard members of other generations express discontent with new, entry-level employees, prior to having worked with them, already well aware of the problems we cause in the office. But how can I blame them for these preconceived attitudes when its generally the media that is responsible for propagating what can at best be referred to as blatant generalizations, and at worst, rampant stereotypes no different than those imposed on any other population subculture? Not many people would think twice before attributing a workplace failure to anothers age, specifically, ones millennial status. But ascribe the same errant behavior to ones race, gender or religion, and youve got a serious lawsuit on your hands. Sure, with age comes experience, but frankly, if a person screws something up, its much more accurate to label that individual mistake a lapse in judgment or a result of personal incompetency than it is to reduce the person to a product of age and assume that such behavior is representative of an entire generation. Now, if you insist on referring to sociological studies and market research so you might derive additional insights, with which to broadly blanket my peers, let me remind you that these studies are themselves generalizations and are never meant to be applied on the individual level. Moreover, there is an inherent fallacy within any such research, namely, the identified behaviors and attitudes come about primarily as a result of posed hypothetical scenarios and hearsay that dont reflect real-world operations. But if you absolutely must accept and perpetuate descriptors like entitled and job hopping, at least consider that those are not inherently malicious characteristics. Firstly, entitled is just a newfangled way of referring to the same concentrated ambition that once defined the American Dream. As products of the self-esteem movement, many millennials were raised under the guise of limitless potential with their sights set by parents and teachers You can do anything mantra. Coupled with the infinite potential offered by the internet and successful entrepreneurs like Mark Zuckerberg as role models, wed be foolish not to utilize everything at our disposal to get ahead. I dont feel entitled to anything I havent earned, but I certainly feel entitled to pursue success in life by any and every means necessary. With specific regard to workplace habits, many look at the Gen Y predisposition for job-hopping and quickly ascribe the trend to an innate disloyalty, found in all millennials and indicative of how horrible we must be to work with. Well, let me propose an alternate scenario: In my grandparents generation, it was commonplace for people entering the work force to leave high school, find a job at a company, and spend their lives slowly working their way to middle management. In my parents generation, it was college, and if you were lucky enough to afford it, graduate school. But the unidirectional mandate held fast. You picked a specialty and stuck with it. Nary does a neurosurgeon find him or herself returning to graduate school in pursuit of an alternative vocation.

But things are different now. Educationally, Im not limited to what I learn in school (thank you, Mr. Internet). Due to the state of the economy, there are fewer job openings, and the already-overpriced graduate school is even further out of reach. Imagine, for a second, I opted to pursue a masters degree after college. Two years later, i.e. now, Id be heavily in debt with only academic experience under my belt. Instead, Ive worked in public relations, advertising, and now, publishing, all with a focus on social media and emerging technologies. Ive seen one nebulous industry from multiple overlapping perspectives, honing my craft and increasing my value in the workforce. Most importantly, I have been able to learn so much while still earning a living and making a professional contribution to the industry. Call it what you will, but job hopping isnt a matter of loyalty, its about students graduating into a terrible economy and making the best decisions based on the options available. Besides, if the past 15 years have taught us anything about companies, its that loyalty is no longer rewarded. The longest-working employees are typically the first to get cut when the ax falls. Some people will undoubtedly see this column as arrogant and evidence to support their beliefs about my generation-and thats what Id call confirmation bias. Please note, I didnt start this fight. I had no reason to attack BusinessWeek prior to that article-but I do have good reason to defend myself and my generation against a pretty serious accusation. Its the journalists job to examine data and research and put it into the proper context for readers. (Then again, trend pieces usually have a tenuous relationship with actual fact). But when it comes to these millennial myths, the opposite has become the norm, and with it, adverse implications arise. How many employers and hiring managers have been exposed to similar articles? Is it so far-fetched to imagine that a promising graduates drive could be misconstrued as entitlement and lose out on a job as a result? This type of journalism leads to inaccurate assessments of reality and consequent discrimination; it perpetuates falsehoods and blatantly promotes ageism. But, hey, at least that womans etiquette school is doing well, right? LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Tremor-Scanscout merger creates online video ad player with scale nearing Hulus; Wave of consolidation in space driven by advertiser demands for reach BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 599 words

Lots of advertisers want to buy online video-they just dont want to buy it in dribs and drabs from a bunch of different places. That quest for scale is leading to a swath of consolidation in the fastestgrowing segment in online advertising. Tremor Media, the largest independent network, reached a deal last week to acquire Scanscout, one of its smaller competitors, in a bold attempt to consolidate the market, and create a scaled competitor to Hulu and YouTube. Separately, Undertone Networks is expected to announce a deal Monday to buy Jambo Media, a video syndication and ad platform. Two weeks ago, Specific Media snapped up BBE, one of the first pure-play video networks in the market. The latter two deals are about display ad networks attempting to add video capabilities, just as AOL added video inventory when it bought 5Min earlier this fall. The Tremor deal is about creating the largest independent source of video ad inventory, in hopes it can better compete for the TV budgets moving online. TV advertisers are the ones moving most aggressively into web video, looking to achieve similar goals through it. I think that has been one thing that has been missing for advertisers is the ability to deliver mass reach, said Chris Allen, VP-video innovations at Starcom USA. A lot of our clients are married to the reach metric, and TV delivers reach as fast as possible. The only way to achieve that reach online is through a network. While traditional display ads have slowed way down, video advertising is just revving up, growing an estimated 48.1% in 2010 off a relatively small base and another 42.7% to $2.1 billion in 2011, according to eMarketer. If you look at agencies and their motivation they are looking to buy the strongest and the biggest; this

creates a must-buy against that, Jason Glickman, CEO of Tremor Media, said. His play is to create a scaled player in the mid-market, something below Hulu, but above the mix of content available on YouTube. As it is, there isnt a whole lot of differentiation in either scale or offerings between Tremor or Scanscout, and other providers such as Brightroll or Yume. You might see some price variations but most will come in at the same CPM range depending on the targeting you use, Mr. Allen said. The combined Tremor/Scanscout served a collective 667.5 million video ads in September, according to ComScore, a close second to Hulus 794 million and well ahead of No. 3 Brightroll with 476.4 million. Google served 242.5 million in September. Tremor has raised nearly $80 million over the past four years. Its 2010 revenue is said to be in the $70 to $75 million range and is expected to grow to $110 million on its own in 2011. Scanscout has raised $17.5 million and has revenue of $20 to $25 million. Scanscout CEO Bill Day will become CEO of the combined company to be called Tremor Media and Mr. Gickman will become executive chairman. Both companies, based in New York City, are profitable or near-profitable, given they are both still investing heavily in technology, said Mr. Glickman. The combined company will look to complete an IPO in the next 18 months, giving investors the only pure play on the growth of video advertising, provided Hulu doesnt go public first. Tremors backers also wont rule out more deals to further consolidate the market. You are going to see further consolidation, said Warren Lee, a partner at Tremor investor Canaan Partners. After this deal we will still have a very strong balance sheet and there will be other things we can acquire in terms of products, services and technology. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 Web-to-TV makes a comeback with spate of new series; Online shows bring networks built-in fan base, lower budgets-and can carry over advertisers BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1093 words

The star of the years highest-rated cable movie is not an A-list movie star, an Emmy-winning actor or even a Disney celebrity. Its YouTube star Fred Figglehorn (aka actor Lucas Cruikshank), whose Fred: The Movie was watched by 7.8 million people during its September premiere on Nickelodeon and by more than 28 million viewers since. Hes also the unofficial poster boy for web TV, and why more web properties could now succeed on network TV after others failed to make a mark. Look at the current programming guide. CBSs freshman show $#*! My Dad Says is based on a Twitter account; Adult Swims Childrens Hospital started life as a WB.com comedy starring Rob Corddry and Megan Mullally; Syfys Sanctuary is based on an online drama series; and Comedy Centrals Tosh.0 is a compilation of the weeks most unique web clips that has become the networks highest-rated original series. Those hits are paving the way for a handful of pilots from the likes of Friends actress Lisa Kudrow, comedy website Funny or Die and even the blog Awkward Family Photos that started life online. But why move to TV what already works well for the internet? Simply put: A popular web show brings networks a built-in fan base, (comparably) cheaper talent, lower budgets and, in some cases, advertisers willing to follow a show or personality across any platform. I definitely feel like were in this renaissance of taking another look at generating original content for the web as incubators for original series and doing it in an economical way-as opposed to throwing tens of millions of dollars at it and creating vast content machines, said Mark Stern, exec VP-original content at Syfy. Adapting web shows for a TV audience makes a lot of sense from an efficiency standpoint. The average network drama can cost over $1.5 million for one episode, with established stars making upward of $150,000 an episode, inflated in part by actors guild and union costs. Meanwhile, the entire season of a successful web show (which usually totals about 45 to 60 minutes over 8 to 10 episodes) can run anywhere from $100,000 to $2 million at most to produce, with salaried talent often working for low-to mid-five-figure deals (sometimes without contracts or agents) and sponsors picking up the tab for production and distribution costs. But keep in mind that most webisodes

average four to eight minutes per episode, compared to a sitcoms 22 minutes. Consider the landscape only a couple of years ago: Web-original shows first gained major popularity during the 2008 Writers Guild of America strike as a vehicle for TV writers and producers to create projects that didnt violate their contracts-and for a mere fraction of a TV budget. A few successful series emerged, including Joss Whedons Dr. Horribles Sing-Along Blog, MSNs In the Motherhood (sponsored by Suave and Sprint) and MySpaces Quarterlife, which became the first made-for-web series to get picked up by a broadcast network in February 2008. But after NBC aired a repurposed version of Quarterlife episodes during prime time, the show posted the networks lowest ratings in 17 years during its timeslot and was swiftly canceled after one airing. In 2009, ABC attempted to turn In the Motherhood into a prime-time sitcom by recasting the leads, tweaking the storyline and distancing itself from Suave and Sprint, which helped fund the web version with producers Mindshare Entertainment but were less-active sponsors on TV. In other words, the first breed of shows that made the leap from web to TV didnt succeed because producers changed or repurposed what people could already watch for free online. This time around, characters are being expanded, franchises are being developed directly with networks and advertisers are looking for ways to follow these properties across all platforms. Plus, what makes a hit on YouTube or MSN is hard to convert to broadcast network success standards. Sure, $#*! My Dad Says is the second highest-rated new show of the season, but it ultimately works because its a Monday-night CBS sitcom starring William Shatner that happens to be based on a Twitter account-whereas the TV version of TheWB.coms Childrens Hospital can reach just more than 500,000 viewers during Adult Swims late-night lineup with double its seasonlong web budget and episode length, yet still be sustainable. In that shows case, its reaching a higher concentration of its target audience during a lineup that commands higher ad rates among advertisers looking to reach the young-male demo-the same promise of distributing original series on the web among targeted audiences, but on a different platform. Great ideas can come from anywhere. Its great that brands can come to develop shows, but its all about ROI in many different forms, said David Lang, president of Group Ms Mindshare Entertainment. The goal is to achieve ROI for the brand, and if that is a television show or web engagement or if thats a multiplatform engagement, or if thats at retail, we craft our creative to achieve a brands goal or objectives. Brian Terkelsen, president of Publicis Groupes ConnectiveTissue, which oversees brandedentertainment programs for Walmart, Procter & Gamble, Coca-Cola and Kraft, cautioned that migrating web content to TV doesnt always guarantee a win. There is little to no distinction between the quality of cable or broadcast programming today and as such, the financial structures needed to support the movement of content from web to TV are expensive and a risk. The ability to draw a straight conclusion that web content will play successfully on TV hasnt been proven, he said. Thats why networks and producers are going to great lengths to make this next round of web-based

shows distinct from the content viewers are already streaming for free online. Comedy Central has a trio of web projects in development: one is an adaptation of Avalon Televisions online sitcom Workaholics; another is a full-length version of The Onions Onion Sports; and the third is a pilot deal with the Gregory Brothers that will not rehash their popular Auto-Tune the News clips but will instead feature a wholly new premise. In all three cases, each show will feature original content and target advertisers similar to those on The Daily Show or Tosh.0. There are plenty of things that get huge traffic online that wouldnt make sense as TV shows, said Kent Alterman, head of original programming and production at Comedy Central. It has to succeed on its own merits. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 8, 2010 CORRECTIONS SECTION: Pg. 12 Vol. 81 LENGTH: 88 words

In Coupon Clipping Stages a Comeback, (AA, Nov. 1), Valassis will distribute NewsAmericas coupon inserts via its mail program starting in January, but it wont reach the 14 million households cited in the story. NewsAmerica said it will only distribute SmartSource inserts to 4 million households through the mail program. In the market share chart accompanying the story, the heading Direct mail should be Internet; the heading Internet should be Handout; and the heading Electronic Dispensed should be Direct Mail.

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Advertising Age November 8, 2010 CORRECTIONS SECTION: Pg. 12 Vol. 81 LENGTH: 27 words

RE: Bottlers, Community Groups Are Pepsi Refreshs Big Winners (AA, Nov. 1).Earned media impressions attributed to Refresh were as of Oct. 15, 2010, not Oct. 13. LOAD-DATE: November 11, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 SUBWAY KEEPS IT REAL TO WIN THE FAST-FOOD RACE; Over subs with CMO Pace, talk of authenticity, accessibility and Jareds run BYLINE: JENNIFER ROONEY; JROONEY@ADAGE.COM SECTION: Pg. 18 Vol. 81 LENGTH: 1299 words

Hell take a six-inch chicken on flatbread with half Swiss, half provolone, please; put the onions on first, then toast it. Add lettuce, tomato, banana peppers, a little bit of light mayo and black pepper. Im assuming this is your favorite item on the menu? I ask Tony Pace, Subway Franchisee Advertising Fund Trust senior VP-chief marketing officer, as we take a table in the back garden (yes, this one has a back garden) of a midtown New York Subway restaurant. Yeah, I have lots of favorites on the menu, but chicken and cheese is one of my favorites, he says. Its a question hes likely been asked countless times. And why not? As CMO at one of the largest quick-service chains in the world, with 2009 U.S. ad spending of $450 million, according to Advertising Ages Datacenter, its his job to know Subways offerings well enough to know what he prefers-and what his customers are eating in the chains more than 33,000 locations globally. Hes been in that position for nearly five years, and the Y&R and McCann Erickson Worldwide veteran is, in his own words, an activist within his organization. Reporting to CEO Jeff Moody, he speaks up when he wants or doesnt want something to happen, sometimes even writing ad copy, likely much to the chagrin, he says, of his agency. MMB, Boston, handles Subway advertising He shared some of his views on CMO tenure and agency compensation with Ad Age and explained the success behind $5 Footlongs, why endorser Jared Fogles running in the New York Marathon, and whats keeping him up at night. Whats the philosophy behind your marketing efforts? The analogy Id use is [marketing is] like a garden. Youre always trying to expand the garden. If you have certain programs, certain efforts that are working, you want to continue doing them so that theyre perennials, but you also want to add to it over time so that youre building the business. When I look at our competitors, one of the big differences is that we do have multiple messages over long periods of time, even though we have promotional windows like everybody else does, because were

trying to build the brand, build sales and obviously build profits all at the same time. And what is it about your campaigns that have so resonated with consumers and helped to build the brand? The $5 Footlong was really supposed to be a four-week promotion. We launched it on March 22, 2008. Normally in the fast-food business people do the discounting in January. We really didnt want to do the discounting in January, because, frankly, wed done some in January 2007. The work was good, but it really didnt have much of an impact on the business. So we said, lets not go up against everybodys dollar, lets find another time to do it. We also had pretty good assessment of what was going on with consumers, and we actually thought gas prices were going to go up significantly that spring. Its not traditionally when QSRs are heavy on the value push. [And] mid-March was when Bear Stearns failed, so the whole financial cataclysm started happening at that point, and we had some advertising that was incredibly distinctive and memorable. Were now 130-plus weeks later, and $5 Footlong has morphed from a four-week promotion to a $4 billion brand in terms of annual sales. And you just did it based on the overwhelming response? Youve got to watch consumers and how theyre responding to it. There arent many promotions that youll do over time that drive both guest check and traffic, and that did. That was a wonderful example of why marketing still matters in a big way. Lots of companies, especially with all the private equity and the financial guys, they look at marketing as an expense. We look at it as, how do I build assets so that I can deploy those assets again and again to the best effect of the brand and the business? Jareds an asset, $5 Footlongs an asset, our Famous Fans are an asset. Right now in this window were talking about the fact that were the official training restaurant of the ING New York City Marathon. Were also the official training restaurant of the New England Patriots. Were probably going to be the official training restaurant of the Ironman Triathlon. So official training restaurant is a designation that we believe is only appropriate for our brand, because lots of elite athletes use Subway when theyre in their training mode. Thats an asset that we can deploy again and again. Everybody talks about building brand equity in a campaign; weve actually done that, and that makes the hurdle of communications a little bit lower the next time. Has Jared lost all 40 pounds that he gained? Hes in the best shape Ive ever seen him. [The marathon] was kind of a crazy idea and Jared, after figuring out how we were going to get the real training done, said, you know what? Lets go do this. Its really heartwarming to us-I mean, obviously hes part of our brand-to see somebody take on a goal that outrageous. And was it to counteract the fact that he had gained weight again? Not really; if you go back a couple years, we did a celebration of the 10th anniversary of Jared losing the weight and keeping it off. The thing is, weight loss is a hard thing. And keeping the weight off for an extended period of time is a real accomplishment. So were always looking for ways to take things

to the next level and we thought that was a really nice next level. Its also a way of putting messaging out both in public relations but also through social media about whats going on with Jared. It goes, again, back to my point of using an asset for the brand in new and different ways that consumers are interested in. How do you pick partners and media integrations? For a brand as big as we are, the concept that is always driving us is, what is net incremental reach? We also do branded message integrations; [they] matter a lot. Im not really interested in product placement. What we want is to look like we belong. We try to find places where we can be appropriately embedded in the messaging. Were now in our seventh season with The Biggest Loser. Its been a wonderful partnership. How imperative is an agency background to be a successful CMO? The CMO job has changed, so Im more of what Id call an activist CMO. So probably much to the agencys chagrin, I will write my own copy on occasion. As you have all of these different touch points with consumers, its harder to integrate everything youre doing. Youve got to have points of integration inside, and sometimes that ends up being me. Are you a micromanager by nature? Im incredibly particular, yeah. So if I have copy that I dont like, I speak up very quickly about it. To me, you cant sit back and play gatherer in the marketing process and you cant sit back and just say, Im going to edit all these things together. Youve got to be out there. Do you think CMOs are losing power within the organization? If CMOs are really turning over inside of 24 months, they never had power in the first place. If marketing is central to the success of your organization, youd better have a strong CMO or youre not going to succeed. What keeps you up at night? Weve been growing great, so the growth imperative-this calendar year, really since March, our traffic has been up about 8.5% per month, where the category has been flat traffic at best, so continuing that growth, thats not an easy thing to do. That does keep me awake. 5 TIPS 1. Continue marketing efforts that are working, then add to them to build the business. 2. Watch how closely consumers are responding to campaigns. 3. Dont abandon wayward brand endorsers; their humanity makes them authentic. 4. Prioritize net incremental reach in media integrations.

5. As CMO, speak up; have a viewpoint and the courage to push it forward. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 SUDDENLY, EVERYONE WANTS TO BE GROUPON BYLINE: KUNUR PATEL; kpatel@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 861 words

If imitation is the sincerest form of flattery, Groupon has a lot of admirers. From Walmart to a hotel in Scottsdale, Ariz., marketers have taken notice of the two-year-old Chicago startup thats amassed 25 million subscribers, and they are building new Facebook apps that look a lot like their own personal Groupons. But if marketers big and small can do it themselves, where does that leave the original? Last week, Walmart launched a deals app called Crowdsaver that unlocked 18% off a $500 plasma TV once the deal got 5,000 likes. Crowdsaver puts you in charge of lower prices. If the deal gets enough likes, the price drops for everyone, said the Facebook post. In less than 24 hours, the deal got enough likes, so it will be redeemable. In October, ConAgra brand Healthy Choice launched a coupon that increased in value as more people liked it on Facebook.

We looked at how successful the Groupon concept has been and how important coupons are to our community, said Genevieve Mazzeo, manager PR-social media for ConAgra Foods. The discount went from 75 cents off to $1.50 off to buy-one-get-one. It was a way to engage them differently and give them something they want: a coupon and reason to share. At a basic level, thats what Groupon has done since it launched in 2008: post a deal that only kicks in if a certain number of people commit. Groupon launched in Chicago with an email-based service for local deals-pay $75 for a $150 massage, say, or $20 for $45 on a restaurant bill. Once enough customers put money down, the deal goes through and everyones credit card gets charged. If not, the deal disappears, no one is charged, and a new offer is sent out the next day. Groupon has since expanded across North America, and this year, largely through acquisition, it has set up shop in Europe, Japan, Russia and Latin America. Both Walmart and ConAgra had other factors in mind than just the awareness and sampling that Groupon creates. The Healthy Choice deal encouraged trial for a product, like paper coupons do, but it also increased the brands Facebook fan base 10 times. For Walmart, the do you want this? mechanism was also meant to cede a bit of control to customers. Group shopping and group deals are happening anyway at Walmart; this just puts a different container around it, said Wanda Young, Walmart senior director of digital strategy. Voting on a specific item puts an aspect of control in customers hands. Ms. Young doesnt deny that testing a sale online helps a retailer determine if a discount could reach the critical mass needed to make financial sense. The economics about the way Walmart approaches buying are always at play, she added. I wouldnt be surprised if we see more retailers try their own derivations [of flash sales and Groupon], said Andrew Lipsman, an analyst for ComScore. It lowers the risk for retailers if they can guarantee a certain volume for a deal. For its part, Groupon doesnt feel threatened by national marketers building their own group deals, said Groupon spokeswoman Julie Anne Mossler. In fact, its made its own plays for big marketers. In September, it synced up its network for the Gap in its first national deal, which grossed $11 million. But such deals are not the core of Groupons offering. Were never going to stray from doing local marketing, but national deals are an extra bonus for our subscribers, Ms. Mossler said. Local businesses now also have the tools to set up their own versions of Groupon deals. The W Hotel in Scottsdale recently launched its own group deal in an app on its Facebook page: If at least 10 people sign up, they all get nearly 50% off a $295 room rate. Twenty-eight people eventually booked rooms, and the deal was on.

The hotel used a plug-and-play tool from the Palo Alto-based app developer Wildfire to build the deal. Since the tool launched in July, mostly small and medium-sized businesses-arguably a slice of Groupons core client base-have used it, said Curtis Kroeker, Wildfires VP-business development. Marketers set the deal parameters themselves and host the apps on Facebook pages or websites, so they can make group buying a more frequent part of marketing strategy than just the sole Groupon email, he said. [Group buying sites like Groupon] are [based on] onetime demand for companies or brands, said Mr. Kroeker. Theres a need for businesses to have group deals be more of an ongoing part of their marketing efforts and to also set their own terms. Groupon takes about half the revenue a deal brings in for sending and creating deals, but with Wildfire, marketers only pay a fee for the technology. Still, Groupon wields the power of 25 million people counting on deal emails delivered to their inboxes day after day. Without such emails, marketers still need potential customers to find their deals in the first place. One small business, Giant Nerd, used the Wildfire tool but couldnt get five people to buy a $1,000 bike for $450. We created the space, we innovated [in] the space; whether its a national brand or a competing deal site thats essentially copied the model, thats not a threat to us, said Groupons Ms. Mossler. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 How Twitter users defied Twitters creators-and saved them and the platform in the process BYLINE: SIMON DUMENCO; sdumenco@adage.com

SECTION: Pg. 16 Vol. 81 LENGTH: 812 words

New York City Mayor Mike Bloomberg recently gave a delightfully cranky interview to the New York Daily News about his general allergy to social-media nonsense. He had this to say about Twitter-and what people tweet about-in particular: Im going to the bank right now, you know, I think Ill have coffee. And you wonder, No. 1 why does anybody care? Why do people, why would you look at it? New York Magazine Daily Intel blogger Dan Amira linked to the Daily News piece and slapped this hed on his post: Mayor Bloomberg Talks About Twitter in the Way That People Who Have Never Seen Twitter Talk About Twitter. Take that, Old Man Bloomberg! Except, of course, the mayor is partially right-there are still a lot of people who tweet about inconsequential personal minutia. (I just now typed going to the bank in Twitters search box and turned up a bunch of tweets including this one from a guy in Brazil with the Twitter handle @mikegoulart: im going to the bank! see ya. He later also decided to inform the world: going to bed low battery. Duly noted!) Or maybe its more like Mayor Bloomberg was mostly right-about Twitter when it first launched. But Twitter circa 2010 is generally very different than Twitter 2006 (Mike from Brazil notwithstanding). Part of the reason why Twitter cant quite shake its reputation for being a forum for randomly bragging about your unexceptional life-as a Current TV SuperNews parody video once put it-is because Twitters creators almost demanded banality from users. It seems like a distant memory now, but for the first three years of Twitters existence, the tweet-entry box was preceded by a question: What are you doing? A lot of people sure took that seriously (and @mikegoulart apparently still does). Banal self-absorption was baked right into Twitter. As Twitters Jack Dorsey told the Los Angeles Times last year in recounting the genesis of the micro-blogging service, he and his cofounders Evan Williams and Biz Stone, after discarding the name Twitch (it doesnt bring up the right imagery) looked in the dictionary for words around it, and we came across the word twitter, and it was just perfect. The definition was a short burst of inconsequential information, and chirps from birds. And thats exactly what the product was. So there you have it: Stupidity was a part of Twitters DNA. (OK, to be fair, Dorsey did go on to elaborate: The whole bird thing: Bird chirps sound meaningless to us, but meaning is applied by other birds. The same is true of Twitter: a lot of messages can be seen as completely useless and meaningless, but its entirely dependent on the recipient.) Arguably, banal self-absorption is baked right into our times-and Twitter, being one of the signature

products of our times, merely reflects that. And of course Twitter is not alone in being an enabler. (Comedian Ben Stiller got more than half a million views on YouTube last year for his Ben Stiller is online video in which he updated his Facebook feed to read Ben is updating his status. A very meta joke, but a resonant one.) Still, for all the people on Twitter still tweeting about running to the bank and drinking coffee, chances are they constitute an exceedingly minor part of your tweet stream (or an entirely nonexistent part if youve made a point of unfollowing such nudnicks). And its worth noting that late last year Twitter changed What are you doing? to Whats happening? which is more like it. Today, Twitters tagline is The best way to discover whats new in your world-which, really, is what the marketplace turned Twitter into. Essentially, Twitter users-including third-party app developers-informally took over product development while Twitters managers busied themselves with other stuff (like trying to keep the damn thing even up and running, which of course they still struggle with). Its Twitter users who decided they wanted to tweet about current events by sharing (for the most part) mainstream-media links-turning Twitter into a headline-news service. Others decided they wanted to use it for #hashtag-based witticisms-turning Twitter into a word-centric gaming platform. Still others wanted to use it as, basically, a fan forum for TV and movies and music-turning it into a pop-cultural barometer. And a critical mass saw Twitter as a political platform and organizing tool (e.g., the Twitter-enabled protests surrounding the Iranian presidential election of 2009). And so on Twitters management didnt exactly encourage, via interface design, a smarter Twitter-but they didnt exactly stand in the way of one, either. (Now, finally, with New Twitter, its doing a better job of showing off its smarts, not its lameness.) Twitters creators, to their credit, let users reinvent their product. They allowed Twitter users to destupidify Twitter. Smart move, fellas. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 GROUPONS GROWTH SECTION: Pg. 26 Vol. 81 LENGTH: 125 words

NOVEMBER 2008 Launches in Chicago. SPRING 2009 Expands to New York, Boston, San Francisco and Atlanta. SUMMER 2009 Adds about two U.S. cities a month. DECEMBER 2009 Founder Andrew Mason tells Ad Age Groupon was profitable in June. He anticipates $100 million in revenue for 2010. MAY 2010 Acquires Citydeal, which added 80 markets in 16 countries in Europe and Latin America to its existing 60 cities in North America. AUGUST 2010 Two additional acquisitions to move into Japan and Russia. SEPTEMBER 2010 Runs its first national promotion with Gap, which sells 445,000 deals for $11 million. TODAY 25 million subscribers worldwide with 15 million in North America. The company is on track for $500 million in revenue, according to Morgan Stanley via Forbes magazine.

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Advertising Age November 1, 2010 What you missed at this years IDEA Conference; With innovation as cornerstone of their message, industry influencers inspire at Ad Age/Creativity event SECTION: Pg. 4 Vol. 81 LENGTH: 1052 words

The fifth annual Advertising Age/Creativity IDEA Conference, held in Manhattan last week, looked at how a variety of industries-from music to fast food to education-are tapping innovation and using creativity to build their businesses. Here are nine inspiring takeaways from the day. DESIGN DRIVES PROFITS Kimberly-Clark Brand Design Director Christine Mau literally thinks outside the box. For decades, the company sold Kleenex in rectangular-shaped containers, but a few years ago she thought, why not other shapes? And thus were born triangular, watermelon-wedge boxes for summer and metallic ovular boxes during the holidays. For years, Kleenex brand had learned how to make vanilla wafers: 300 choices in store that were OK, she said. By going from OK to wow, Ms. Mau was able to get consumers to pay three times as much for Kleenex. FOCUS ON THE EXTREME USER By watching the extreme user, you can find the game-changing insights to help you differentiate in a

sea of sameness, Ms. Mau said. Youve got to listen with your eyes-consumers cant necessarily lead you to the next big innovation [by talking]. That strategy is similar to Coca-Colas in its quest to find the next potential billion-dollar brand. Plenty of products at Coca-Cola play in the middle of the distribution curve, said Mary-Ann Somers, VP-strategic and operational marketing at Coca-Cola, who works on the ventures and emerging brands group. At VEB, we really live on the left. We will develop things that not everybody will like, and thats OK. BUILD COMMUNITY BY LISTENING Pandora has fostered a devoted fan base by listening and responding to listeners-real people answer 30,000 emails a month, and it has hosted more than 250 town hall forums. (In fact, after Tim Westergren, founder and chief strategy officer of the service, spoke at the conference, he was heading to Hoboken, N.J., where he was hosting a meeting of Pandora enthusiasts that night.) Fostering that kind of community paid off big time when Pandora called on listeners to lobby their Congressmen to enact the Internet Radio Equality Act. After listeners sent more than 300,000 faxes, enough to shut down the Capitol Hill fax system, the legislation passed. FOSTER A DEVIANT CULTURE Deeplocals Nathan Martin and Eamae Mirkin are always thinking in terms of, what clever interactions can we come up with? At Deeplocal, they foster a culture of deviants-and marketers and brands would help themselves if they worked to similarly foster deviant, or bold and boundary-busting, behavior as they try to reach out and break through the noise. And, they explained, marketers need to ask themselves: Is your idea cool enough that youll tell your friends about it? If it is, then it is probably a pretty good idea. If not, table it. DONT JUST REPLICATE Whenever ad agencies approach Deeplocals Mr. Martin, the biggest issue is trying to get them to focus on ideas that havent already been done. Usually its about trying to do what was hot on YouTube or Facebook or something theyve already seen, he said. But that wont help you get noticed. Mr. Martin said the most successful ideas come out of R&D-type experiments where the goals arent always concrete but which may yield surprising new findings. GO BIG OR GO HOME Dominos story is one marked by total transparency. The company had to do something to stem lagging sales, and it chose to do something drastic under Chief Marketing Officer Russell Weiners leadership: It admitted it was selling crappy pizzas and vowed to make them better, a bold, risky move. It was a big chance, because Dominos could have failed miserably and the move might have become the final nail in its coffin. Instead, it resulted in buzz, more satisfied consumers and a thirdquarter same-store sales increase of 11.7%. It was all an example of Dominos being human; Dominos saying, thanks for giving us a second chance, Mr. Weiner said. NICHE GROUPS HELP BRANDS EMERGE

When the popular Five Finger semi-barefoot sports shoe was first shown at a trade show in 2006, it wasnt very popular, said Tony Post, president and CEO of Vibram USA. Buyers said the sock-like shoe wouldnt provide enough support and that it was just plain ugly. Undeterred, the company focused on targeting a niche group of rock climbers. The climbers liked the shoes and started wearing them out, not only to climb. Then runners got curious, found out about the shoes, and started wearing them as well. Consumers became our brand advocates, Mr. Post said. BUILD ADVOCACY INTO THE BUSINESS PLAN At 4Food, a restaurant thats trying to remake the fast-food industry by taking the money traditionally spent on marketing and funneling it into better, more sustainable ingredients, customer advocacy is built into the business plan. Customers can create one of tens of thousands of burger combinations, name them and then use social media to promote their creations, earning 25 cents in 4Food credit every time someone buys their burger. The strategy has resulted in marketing costs-the 25-cent credittaking up only 3% of sales. BE SCARED AS HELL When video-production-company founder Mick Ebeling first met graffiti artist Tony Quan, who goes by the handle Tempt, it was in a hospital room. Mr. Quan had become paralyzed by ALS, more commonly known as Lou Gehrigs disease, and he couldnt talk or move. Mr. Ebeling was so moved by the artists plight that he promised to help him do something that, given his situation, seemed impossible. I promised him that Id find a way for him to communicate again, and I promised that hed be able to draw again, Mr. Ebeling said. Given that Mr. Ebeling had no engineering or medical skills, he was scared as hell over what he had promised. A year or so after he made that promise, however, Mr. Ebeling, along with his wife and kids as well as a good chunk of the employees at his company, The Ebeling Group, had created a low-cost device that allowed Tempt to communicate-and write. I realized after this experience of the fallacy of impossible, he said, and started a foundation called Not Impossible to try and help other people. He doesnt know what the foundations next project will be, but he said hes still scared as hell about how to do these things, whatever it may be -and thats a good sign. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 THE WORK BYLINE: Teressa Iezzi SECTION: Pg. 27 Vol. 81 LENGTH: 481 words

IKEA WARDROBE AGENCY: FORSMAN & BODENFORS, STOCKHOLM In its latest effort for Ikea, Forsman & Bodenfors turns its attention to wardrobes. DIRECTOR: MICHAEL MARCIMAIN ART DIRECTOR: JANNA NORBERG COPYWRITER: FILIP NILSSON, IDA BACKMAN ACCOUNT DIRECTOR: SANNA FAGRING ACCOUNT MANAGER: KATARINA KLOFFSTEN AGENCY PRODUCER: KALLE WETTRE PRODUCTION COMPANY: B-REEL DIRECTOR: MICHAEL MARCIMAIN MUSIC: CA VALAIT LA PEINE, CORALIE CLEMENT NIKE RISE AGENCY: WIEDEN & KENNEDY, PORTLAND, ORE. Should I just sell shoes? LeBron James asks for advice. In this spot, James seems to only stir up the antipathy that was directed toward him around his overly-publicized move to Miami. Doth he protest too much? CREATIVE DIRECTOR: ALBERTO PONTE, RYAN OROURKE COPYWRITER: CALEB JENSEN ART DIRECTOR: TAYLOR TWIST PRODUCER: ERIKA MADISON EXECUTIVE CREATIVE DIRECTORS: MARK FITZLOFF, SUSAN HOFFMAN AGENCY EXECUTIVE PRODUCER: BEN GRYLEWICZ PRODUCTION COMPANY: IMPERIAL WOODPECKER DIRECTOR: STACY WALL EXECUTIVE PRODUCER: DOUG HALBERT LINE PRODUCER: DINA OBERLEY

REPLENISH CONCENTRATE REUSABLE BOTTLE A new, reusable concept in green cleaning. Eco-minded company Replenish recently released its new line of household cleaning products, which boasts an inventive packaging system that couples a two-part reusable bottle with a concentrated cleaning formula. The bottle system features a snap-off bottom that contains a liquid concentrate that, when mixed with water is equivalent to four bottles worth of cleanser. Consumers squeeze the right amount of concentrate into the main vessel and add their own water. Not only is the main bottle reusable, but the process ultimately saves resources in production and shipping of heavier, full bottles. RIVELLA KICKS AND THRILLS DIGITAL AGENCY: SUPERHEROES Ah, the simple pleasures of life. Dutch digital agency SuperHeroes gives visitors some time-wasting pleasures in this new Kicks and Thrills online campaign for soft-drink brand Rivella. The site presents a simple button that, when pushed, offers users one of nine pretty addictive casual games, from a packaging-bubble popper to a hand-eye coordination loop-de-loop challenge. ILLUSTRATOR: LOULOU @SHOPAROUND FLASH ARTIST: MARK BARCINSKI KIMBERLY CLARK TUBE-FREE TOILET PAPER Where theres a hole, theres no tube. Kimberly-Clark takes a big green step with the launch of its new tubeless toilet-paper roll for the Scott Naturals Brand. The new product goes without the TP rolls cardboard tube, making an automatic, tangible improvement to the overall waste pool. According to the company, U.S. households use an estimated 17 billion tissue tubes a year, the equivalent of 160 million pounds of trash, or, about 250 Boeing 747s. Add to this the fact that the tubes are often overlooked in the recycling process and that makes for a lot of waste. The product is now being tested in the Northeastern U.S. at Walmart and Sams Club stores. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age November 1, 2010 IPG PUSHES TECH-BASED TOOLS, TOYS, TRICKS TO BOOST SHOPPER EXPERIENCE; From interactive mirrors to mobile couponing, retailer products designed with consumers satisfaction in mind BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 822 words

Hate to shop? A mirror that virtually dresses you in the right color and style might help, or a dressing room that will post a picture of you in the outfit you are thinking of wearing so that your friends can weigh in before you buy. These are but a few of the Minority Report-esque tools, toys and tricks that Interpublic Group of Cos. Emerging Media Lab in Los Angeles is showcasing for Interpublic clients at agencies like McCann Erickson, DraftFCB and Lowe Worldwide. The goal is to give clients a hands-on look at technology and changes to media consumption, oftentimes with a chance at being the launch sponsor or distribution partner of the emerging platforms. Its also a chance for retailers to address consumers increasingly indifferent attitude toward the brick-and-mortar experience. John Ross, CEO of Interpublics Shopper Sciences and former chief marketing officer at Home Depot, cited an Interpublic poll of more than 10,000 North American shoppers who reported an 11% decrease in satisfaction with customer service. Of those respondents, about 3% to 4% use their mobile phones to enhance their shopping experience in some capacity. The in-store experience hasnt changed much in about 50 years, said Scott Susskind, the Labs chief technology officer. Retailers are realizing theres a behavior of consumers looking up products on their mobile phones. Some are looking at it as a competitive behavior and others are wondering, How

can I leverage that? Indeed, many of the technologies displayed at the Interpublic Emerging Media Lab are like retailbased versions of an iPhone app. Theres an interactive storefront panel, developed by the Lab with digital agency United Future, that uses cameras to capture information about passersby and potential shoppers, identifying gender and even skintone to virtually dress the shopper in clothing that would best complement their look. Another product is an interactive mirror that allows consumers to virtually try on accessories like glasses and, eventually, other form-fitting clothing. The product is being tested by Sears Optical locations in France. We wanted to do augmented reality, but were just not ready for that yet. The garments dont look right, and the digital adjustment is still a few years out. We think Xboxs Kinect technology will help with that, though, Mr. Susskind said. Other products are focused on improving the customer service experience. A company called MTI developed a Lift technology for electronic pedestals, used by retailers like Target in the U.S., Best in Canada and Sony Centre in the U.K., to improve the shopping experience for handheld cameras and other items. As consumers narrow down their choices, the electronic pedestals will light up to highlight all available cameras that have the desired specifications, eventually sending any resulting sales data back to the retailer. Electronic shelf tags from ZBD, developed with E-Ink, are Wi-Fi-enhanced tags that shoppers can scan to learn more about a product via peer reviews and receive updated pricing on high-ticket items. Whole Foods is testing a non-ZBD version of the shelf tags, which have been touted by manufacturers by IBM for their sustainability. Another product, bCode, brings mobile couponing to the retail experience, enabling consumers with any phone to redeem retail-based coupons at the point of sale. Over 750 Carls Jr., Ikea, Harrahs and AMC movie theater locations are deploying the codes. And look out for customer-loyalty cards to play an increased role in the shopping experience. Not only can shopper-card data be matched up to products like ZBDs scannable tags, its also being tested in 250 Stop N Shop and Giant Food stores through a handheld shopper-scanning device from Modiv Media that offers shopper-specific in-store savings and special product offerings while theyre shopping-as opposed to the coupons and rebates given to shoppers after theyve checked out. It could also be a guerrilla-marketing tool, Mr. Susskind noted. If Im Coca-Cola, every time someone scans a non Coca-Cola product I want to give them an ad to convert them to my products, he said. Shopper Sciences Mr. Ross also has his sights set on making shopping more user-friendly for teenage girls, one of the most skittish demographics in the retail sphere. In early 2011, the Lab will start testing a version of its interactive dressing-room mirror that will enable girls to try on different outfits and share them with their friends via Facebook and other social platforms. The dressing room is often one of the biggest hurdles. Shoppers dont like taking off their clothes; its dirty and dark; it doesnt fit, so I have to go in and out of the experience. But technology can help solve that, Mr. Ross said. If I can bring my friends into this process, thats a way to radically lower my risk of choice and significantly improve my confidence, Mr. Ross said.

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Advertising Age November 1, 2010 Kellogg plans British invasion, introduces Crunchy Nut to U.S.; No. 1 cereal player imports $154 million brand as it looks for innovation in stale category-and to put distance between it and a gaining General Mills BYLINE: E.J. SCHULTZ; ESCHULTZ@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 786 words

Kellogg Co. is banking on a British import to help lift its sagging cereal sales in the U.S. with the introduction next year of Crunchy Nut, a sweet-tasting brand thats been sold in the U.K. since 1980. The January launch-expected to be accompanied by a significantly sized advertising campaign-comes at a tumultuous time for the cereal giant and within a category that has of late shown lackluster innovation. Kelloggs share gap has been narrowing with No. 2 General Mills and the company recently lowered profit forecasts, citing weaker performance in core cereal markets, competitive pressure and lingering impact of the recall this past summer of some brands due to odd smells. Although recession-driven discounting has depressed cereal performance across the category (cereal dollar sales dropped 2.68% in the year ending Oct. 3, while unit sales were down 0.22%, as the average price per box fell by 7 cents to $2.95, according to SymphonyIRI), analysts contend Kellogg is lagging Big G, its chief U.S. competitor. Kellogg remains the U.S. market share leader in the more

than $6 billion cold cereal category at 33%, according to SymphonyIRI data. But General Mills is close at 31%, gaining 0.39 points in the year ending Oct. 3 compared with a 0.51-point loss for Kellogg, according to the data, which excludes Walmart, club and convenience stores. As the dominant player in the domestic breakfast-cereal category, Kellogg is not immune to aggressive competition, but its inability to get its hand around these issues concerns us, Morningstar analyst Erin Swanson wrote in a recent note to investors. Kellogg declined to discuss specifics of the cereal launch, other than to confirm its entry into the U.S. market in January. Kellogg roster agency Leo Burnett, which is handling the campaign, also declined to reveal details. Crunchy Nuts unique honey and nut flavor has made it one of the top cereal brands in the United Kingdom since its debut in 1980, Mike Morrissey, Kelloggs manager of brand PR, said in a statement. We are confident that Crunchy Nut cereals international popularity will continue in the U.S. Crunchy Nut-corn flakes drizzled in honey and encrusted with chopped nuts-is a $154 million brand in the U.K., according to Kellogg. It is the third-ranked cereal by market share, behind Special K and Weetabix, according to Euromonitor International. The brand is also sold in Ireland and Australia. The cereal comes in several varieties, including clusters and chocolate curls. Recent TV advertising makes the cereal the subject of late-night cravings, with the tagline ludicrously tasty. In one ad, a man asks for the cereal at a gas station, where the late-night attendant pours it through a small space in a glass-enclosed walk-up window. By bringing Crunchy Nut to the states, Kellogg can save on the research and development costs associated with a brand-new offering-but still get the lift of a new product, said Thomas Graves, who covers the company for Standard & Poors. Youve already invested some money in a product. To the extent you can attach more sales revenue to that investment, it should be a good thing, he said. Also, the risk is low because the brand has thrived in a country with similar tastebuds as the U.S., said David Palmer, a UBS analyst. But on the other hand, this is a new brand for the U.S., so it will likely not be as low risk as a trademark extension. And this new product will likely require some pretty good execution on the marketing, he added. As of late, Kelloggs consumer promotion and ad budget has fallen, from 13.2% of sales in 2005 to 11.6% in 2009, according to a Goldman Sachs report, which notes that some of these cuts may need to be restored to rejuvenate the top line. The Crunchy Nut introduction continues the recent trend of cereal brand expansions, rather than completely new products. General Mills most recent launches are Total Plus Omega-3s, introduced in June, and Wheaties Fuel and Chocolate Cheerios, which both debuted in January. Big G has cited the new offerings for recent sales gains. Kelloggs most recent launch was the June debut of FiberPlus cereal, a breakfast-bowl version of FiberPlus Antioxidant Bars.

But overall, cereal innovation is down, with only 15 line extensions or new products launched through the third quarter, compared with nearly 44 in 2008 and 29 last year, according to a UBS report. Instead, price promotions have dominated. But the discounting is producing diminishing returns, notes the UBS report, called What Went Wrong With Cereal. General Mills recently announced price increases for some brands, citing higher ingredient costs. So far Kellogg has not followed. CONTRIBUTING: EMMA HALL LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Holiday spots to showcase Kmarts shift in approach to ethnic markets; Rather than segmenting shoppers, retailer looks to make diversity a key theme in its campaigns, CMO says BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 10 Vol. 81 LENGTH: 537 words

The first clue that something needed to change was the shopping carts. Or, more specifically, what was in them. Hispanic customers were snapping up styles from Jaclyn Smith, a Kmart designer meant to target the general market. Jaclyn Smith was selling to Hispanics. and Jaclyn isnt centered in the popular culture of the

Hispanic market, said Mark Snyder, chief marketing officer at Kmart. We had a lot of diverse ethnicity on the floor, and a lot of cross shopping between products and segments. Armed with that knowledge, Mr. Snyder began analyzing how the retailer was marketing to ethnic consumers. Kmart was, it turned out, presenting separate creative briefs to its agency DraftFCB, as well as referring to the groups as completely separate segments internally. For its agency, that meant receiving a brief for the general market, one for the Hispanic market, one for the African-American market, and so on. Initially, that made some sense to me, because there are cultural nuances, Mr. Snyder said. But, what occurred to me was we had this big gap. It didnt seem we were reflecting the full ethnic makeup of the Kmart-shopper base in any single communication, and that was very problematic. To close that gap, Kmart stopped thinking about minority consumers as separate segments and began presenting its agency with one single brief per campaign. On the agency side, that means that DraftFCBs multicultural experts now have a seat at the table full-time. In the past, those people would come into the room only when it was time to talk about ethnic consumers. Mr. Snyder says that some of the niche marketing Kmart was doing was unnecessary given that the retailer was trying to relay much the same message to all of its consumers. However, he acknowledges that it would be foolish to walk away completely from Spanish-language spots or programming and networks that target ethnic groups. The shift has resulted in a massive holiday campaign that is set to feature upward of 90 models. The spots are to feature an African-American family, Asian family, Hispanic family, Anglo-American family and a multiethnic family. I looked back at the holiday advertising weve done in past years, and its produced tremendous results. But I see a very traditional Midwestern Christmas expression in the advertising, he said. Not everybody celebrates in the snow-covered suburbs of Chicago. Mr. Snyder was unable to share specific details about the upcoming spots, as they have yet to be shot. But, he said, that the overriding theme will center on the idea that everybody celebrates differently, and the way you choose to celebrate is the right way. Likewise, there will be a full expression of ethnic diversity in each spot even though the entire cast wont be featured in each spot. The holiday campaign will be the biggest expression to date of Kmarts new approach to ethnic markets, though there will be plenty more to come in 2011. Mr. Snyder is particularly cognizant of the impact the 2010 Census figures will likely have on the market. The numbers are going to turn everything on its head, he said. At that point were going to realize the melting pot weve become. The general market is the ethnic market. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH

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Advertising Age November 1, 2010 Why marathons are hot spot to chase consumers; Educated, high-earning runners are marketers ideal demo, and good news for cities BYLINE: ARIS GEORGIADIS; AGEORGIADIS@ADAGE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 967 words

With interest in marathons at an all-time high, marketers are increasingly trying to keep pace and get in front of whats considered a highly desirable consumer. Nowhere is this more apparent than during next weekends ING New York City Marathon. Just how hot have marathons become? Last week, the registration for the 2011 Boston Marathon was over in eight hours, and thats for a race runners have to qualify for. According to Running USA, about 467,000 runners crossed the finish line at U.S. marathons in 2009. Last year an estimated 470 marathons were held, up 5.6% from 2008. For the ING New York City Marathon, which takes place Nov. 7, more than 120,000 people paid an application fee just to enter a lottery for a shot at running. Of that, about 45,000 are expected to finish. Last years 43,660 finishers made the races 40th edition the largest marathon ever. And by all accounts, those finishers are a sought-after demo: Theyre highly educated, high earners and in most cases they travel and spend on hospitality. Almost a third of New Yorks field is from abroad. The benefit to sponsors, said Bob Boland, a professor of sports business at New York Universitys

Preston Robert Tisch Center for Hospitality, Tourism and Sports Management, is marathoners are a pre-qualified demo: Youre getting interest and commonality, as opposed to having to attract them on their own. For ING, which became the New York Marathons first title sponsor in 2003, the race has been an ideal way for the marketer to reach its target consumer. The parallels between running and preparing for your financial future speaks to our customers, said ING Americas chief marketing officer, Ann Glover. ING translates that attribute in its messaging, often featuring images of runners. The point is to remind those planning for their retirement that, like running a marathon, youre in it for the long haul, she said. From a demographic and psychographic standpoint, the marathon touches all quadrants, she said. But runners in particular are planners and deliberate and they do their best to achieve their goals, which is the type of customer ING is trying to reach, she added. The return on INGs investment, which it declined to reveal, has been the brands increased presence in New York. Ms. Glover said: Our research has shown that, following the event, there is an increase in attributes such as brand recognition and trust, interest in doing business with ING and the intent to recommend our products and services to others. Mr. Boland said INGs sponsorship is one of the better alignments in sports, based on what he calls ROO, or return on objective. They could do a zillion commercials and never reach this kind of audience. The New York Road Runners, the 52-year-old organization behind the marathon, has extended its relationship with ING through 2013. For NYRR, having a title sponsor was a tough decision, but Ann Crandall, exec VP-business development, marketing strategy, said the goal was to have a marketing partner that is in sync with what we want to do as an organization. A big part of that goal is, of course, to foster an interest in running. NYRR had created school-based running programs nearly 10 years ago targeted nationwide to both underserved children and children who do not have access to physical education during their school day. After ING signed on as the title sponsor, the two created the ING Run for Something Better program. Since 2003, INGs contribution has enabled more than 22,000 children to access the school-based running programs. Those children have run or walked a total of over 716,000 miles. The NYRR counts 31 sponsors among its partners this year, up from 29 last year. That field could seem too crowded, making any message potentially hard to hear. But one of the main focal points for the marathon is the Health and Fitness Expo held at the Jacob Javits Convention Center. Every one of the marathons participants must pass through the free expo to collect their racing bibs, so the NYRR creates a huge retail experience for runners and fans of running. Sponsors get prominent placement, but the nonexclusive expo hosts 110 exhibitors looking to get in front of runners. So while official sponsor Asics has a 19,000-square-foot store on location, rivals such as New Balance and other shoe and apparel companies are also on site. While the marathon has attracted many partners, Ms. Crandall said NYRR is selective. Partners have to believe in what were doing as an organization and give back to runners, she said.

And sponsors have clearly bought into NYRRs message. Subway, for example, became a first-time sponsor when it decided to use this years marathon as a way to showcase Jared Fogle, the chains unlikely celebrity pitchman. (See story, P.18). Continue to expect more marketer participation in marathons as overall interest in the sport continues to grow. Over the past 10 years, said Running USA researcher Ryan Lamppa, theres been an average of 20 new marathons annually. Last year saw more than 30 new marathons. At some point, the number of new races is going to plateau-theres only so many cities. But the finisher number isnt. Almost every marathon last year sold out or had a record field. These events have become festivals, and people want to participate. The participants not only include runners but spectators as well, who take local pride in their cities marathons. Cities are embracing marathons for the economic upswing, Mr. Lamppa said. One of the benefits of a marathon of any size is that it brings people to your city, it showcases your city, and it brings people back.The NYRRs last economic impact study, conducted in 2006, showed that the marathon brought more than $250 million into New York Citys coffers. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Secret McRib network defunct as McDs rolls it out nationwide; Huge effort may take some of the fun out of cult sandwich-but its still only available for limited time BYLINE: MAUREEN MORRISON; MCMORRISON@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 621 words

McDonalds is rolling out McRib nationally. But before the products rabid fans start rejoicing, lets make it clear-the elusive product will be available widely only until Dec. 5. Thats by design, of course. The McRib-a sandwich with a boneless pork patty molded into the shape of ribs and topped with barbeque sauce, pickles and onions-has achieved cult status thanks in part to its scarcity. The brand typically pops up for a limited time on a regional or local level and has only been rolled out nationally twice before: in 1982, when it was introduced after a 1981 test-market run; and in 1994, for a McDonalds tie-in with the Flintstones movie. The limited availability has created ardent McRib hunters, lovers of the sandwich who travel to find stores offering it. McRib superfan Alan Klein built the McRib Locator website and multiple Facebook pages have been created in celebration of the sandwich, and McDonalds is planning on whipping up that mad passion for the product in its national marketing campaign. Bloggers talk about the McRib, fans create websites to track it, and we want to capitalize on that. We want to keep the love for this product alive online, and we want fans to talk about the sandwich, said Brad Hunter, senior director-marketing for McDonalds USA. In conjunction with its Nov. 2 national campaign rollout, McDonalds is launching a contest website (mcdonalds.com/mcrib), The Legends of McRib, created by Omnicoms Tribal DDB. The sites name is based off the idea that the McRib isnt just a sandwich but a legend in its own right, and McDonalds is encouraging fans to submit their own stories of the McRibs legend, which dont necessarily need to be true, or even possible. The author of the winning submission will win a trip to Germany-the only country where the McRib is offered 365 days a year-and will also get his or her story animated into a motion comic that may appear on McDonalds digital properties. The website will be supported through online and social-media efforts, events and blogger outreach, among other marketing pushes. Despite the national rollout, McDonalds has no plans to permanently add McRib to the menu. After all, absence makes the heart grow fonder. To keep it relevant and appealing to our customers, it will continue to be offered as a limited-time promotion,said Ashlee Yingling, spokesperson for McDonalds USA. With fast feeders feeling the economic downturn, many are looking toward promotions to boost sales. Chains like to have new-product news, and often that news is that theyll offer discounted items and value meals, said Mary Chapman, director-product innovation at Technomic. Other limited-time McDonalds promotions include its Monopoly game and Shamrock Milkshake. McDonalds comparable sales in the U.S. were up 5.3%-and 6% worldwide-in the third quarter. The company cited its success with the McCafe Frappes and Smoothies as key contributors to comparable sales growth. In the first half of 2010, McDonalds spent about $529,000 on U.S. measured media for the McRib-a sliver of the $441.3 million it spent in total for the same period. In 2009 the company spent about $3.3 million on U.S. measured media for the McRib, and about $3.4 million in 2008. Aside from the Legends of the McRib website, McDonalds is reprising its general-market TV spot that aired in September 2008, called Love by Havas Arnold Worldwide, showing people lovingly

eating McRib. The company will also run a Hispanic-targeted TV spot from Omnicoms Alma DDB; an Asian-American spot from Interpublic Group of Cos. IW Group; and an African-American spot from Publicis Groupes Burrell. TV spots are expected to run through Nov. 22 and all carry a love theme. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Who are the big Pepsi Refresh winners? Local bottlers and community groups; Projects boons: more shelf space, media interest. The question is whether it has buoyed soda sales BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 1097 words

Chances are youre aware of Pepsi Refresh Project and not just because youve read about it in these pages. Its likely youve been urged to vote for an idea by a friend on Facebook or that youve been surprised to discover your hometown vying for a grant. And thats how Pepsi intended it since Refresh launched in January-for consumers to raise awareness by activating their networks to vote for pet projects. Bottlers have helped stoke that activation, rallying their communities around local applicants and hosting parties to celebrate the winners, complete with giant, ceremonial checks and plenty of local news coverage.

But has it buoyed sales? Refresh doesnt seem to have had a major influence on the brands bottom line yet, with brand Pepsis share falling 0.5% compared to a 0.3% decline for Coke in the first nine months of the year, according to Beverage Digest. Yet some bottlers say Refresh is a clear winner in terms of clout gained at the local level, the efforts grassroots nature having given them elevated status in their communities. We fight for floor space and locations in the stores, and this year I think were getting better locations than our competitors. Were getting bigger displays, because [stores] are seeing that were giving back to the community, said Pepsi bottler Dave Pederson, VP-soft drink sales at Bernicks Beverages and Vending in Minnesota. I cant tell you what percent lift its given us, but its given us [an advantage]. Moreover, Mr. Pederson said the campaign has given the bottler something to rally around. Bernicks has plastered the Refresh site, refresheverything.com, on as much collateral as possible, including the back of its trucks. It has also produced hats and T-shirts, hosted local events and promoted those vying for grants. Executives at Bernicks, as well as bottlers around the country, have been interviewed repeatedly by local TV and radio stations about Refresh grant applicants and winners. Bernicks interaction with local media this year has easily exceeded what it would be in a typical year, Mr. Pederson said. Ami Irazabal, marketing director at Pepsi, said that the company has worked with ABC on 38 local segments highlighting winners, while NBC has aired 108 such segments. Local news stories covering those applying for grants or winning grants are gravy. People have talked to their local newspaper or media to ask them to showcase the idea, to rally the community to support them, Ms. Irazabal said. Thats another piece of media thats completely earned. Not that its all been a free ride. The company expects to spend enough on Pepsi marketing in 2010 to exceed spending in 2009. Last year, Pepsi spent $136 million on measured media, according to Kantar Media. Through August of this year, the brand has spent $109 million. Measured media buys for this year have included TV on major broadcast and cable networks, such as NBC, ABC, Fox, MTV, Spike and ESPN, as well as ads in print publications like Parade and People. There has also been out of home, extensive digital buys, and Refresh has tapped into PepsiCos existing relationships with the National Football League, Major League Baseball, Nascar and Major League Soccer. TBWA/Chiat/Day, Los Angeles, is Pepsis creative and advertising agency. Weber Shandwick and Edelman are handling social media around Refresh Project, and OMD is handling media. Huge designed the Refresh Project site. Ms. Irazabal said the number of impressions achieved through earned media is among the highest the company has ever seen for a campaign. In total, Refresh has garnered more than 2.8 billion impressions from earned media through mid-October. So how does that measure up?

Pete Blackshaw, exec VP of NM Incite, a joint venture of Nielsen & McKinsey, called Pepsis reported earned impressions not an insignificant number. Relative to other viral campaigns Ive studied, thats significantly higher. But he was also careful to point out that not all impressions are created equal. Some would argue that a 30-second commercial has potential to penetrate a lot more than a quick, incidental reference on a blog post, he said. A good Super Bowl commercial can create massive viral multiples. Nationwide claimed they got $20 million in earned media impressions off of the Kevin Federline commercial. There appear to be plenty of impressions on the local level. This summer, for example, Avalon Educational Institute, a community center in Duluth, received a $25,000 grant to purchase equipment, including balance beams and floor mats. To celebrate, Bernicks hosted a cookout for the public, where it presented Avalon with its check. Certainly, Bernicks has hosted community events and free cookouts in the past, Mr. Pederson said, but they werent typically covered by a local radio station for nearly three hours. Bernicks has also worked with several local organizations seeking grants, including a local YMCA. The bottler partnered with the city of Duluth, Minn., to produce signage that was posted around town urging people to vote. The idea didnt garner enough votes to get funded, but Mr. Pederson said the effort still raised awareness both for the YMCA and for Pepsi. Were getting our logo out there, yes, but, more importantly were building partnerships in the community, he said. Through October, $11.7 million has funded 287 ideas, hailing from 203 cities in 42 states (see chart). More than 51 million votes have been cast for 7,000 projects. Most of the grants have gone to nonprofits like Avalon Educational Institute, but a significant portion have gone to individuals, with only a small percentage of the grants being awarded to businesses. Refresh has also attracted consumers of all ages, with voters ranging in age from 13 to 61-plus. Interestingly, the largest swath of voters is between the ages of 41 and 60. Ms. Irazabal said thats because the larger nonprofits competing for funding tend to activate networks that include an older population. The projects seeking smaller amounts are driven by millennials, aged 17 to 27, who make up for the third largest group of voters, behind those aged 28 to 40. Next year, PepsiCo will take Refresh Project global. Avi Dan, founder-president of marketing consultancy Avidan Strategies, said the beauty of this kind of campaign is its longevity. It can pick up speed the longer its out there and the more people discover it for themselves, he said. Traditional campaigns in our culture tend to have a shorter life cycle, because people get tired of traditional campaigns a lot faster. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age November 1, 2010 Political spending runs amok-could top $4 bil this year; Looser restrictions amp up fundraising firepower, spark race for local TV inventory BYLINE: KEN WHEATON; KWHEATON@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 750 words

Another election cycle, another year of bitter partisan bickering, another record-breaking mountain of cash spent on political advertising-all of which add up to tight inventory for local TV affiliates. According to Kantar Medias Campaign Media Analysis Group, ad spending this season will top $3 billion. Borrell Associates has predicted spending will get as high as $4.2 billion this year. Weve come to expect steadily increasing ad outlays in political election cycles, but this year is different. Ive been doing this for 20 years and Ive never seen anything like this, said Evan Tracey, president of Kantar Medias Campaign Media Analysis Group. Aside from issues of anti-incumbency fervor and Tea Party madness, the big difference in this election is the Citizens United impact, he said, but not necessarily because major corporations are funneling more cash into the system. Rather, last springs Supreme Court ruling that upended many of the former restrictions on political advertising has given political ad groups more time to spend, and increased fundraising firepower. Gone are the rules barring such advertising 60 days out from an election, meaning two full months of more spending for third-party groups. But more importantly, now that they can be overtly political in their ads-naming candidates rather than focusing solely on issues-fundraising is much easier, Mr.

Tracey said. Explaining to potential donors that your spot is going to talk about an energy bill and urge voters to call their representative doesnt open the wallet as easily as pitching an ad calling for Senator Xs head. And since money follows momentum, he added, Citizens United gives you the ability to constantly restock the fridge. Thats not to say that Citizens United is the sole factor in 2010. Mr. Tracey pointed out that the Massachusetts election that put Republican Scott Brown in a Senate seat held for decades by Ted Kennedy happened before the Citizens United ruling. There were 14 advertisers in a two-person race, he said. And thats where furor over health care, stimulus, high unemployment and a limping economy have served as the kindling for anti-incumbency bonfire. The Republicans went through a raucous primary season in which Tea Party upstarts challenged longtime GOP stalwarts, in some cases ousting candidates seen as likely to pick up seats (Christine ODonnells win in Delaware was portrayed by Karl Rove as snatching defeat from the jaws of victory). Now, in the general election, incumbents from Barney Frank to Harry Reid are having to spend big to stay competitive. Thats bad news for them, but good news for TV, where the overwhelming bulk of the money is being spent. Its one thing to have the two parties going at each others throats in the last days leading up to the election, but with dozens of third-party groups duking it out, markets across the country have become so saturated with political ads that inventory has dried up in some places. Yes, theres definitely a lot of political advertising, and it does put a lot of pressure on your inventory. Its a bit of a juggling act. You have to manage it, said Vince Giannini, general manager of WPHL in Philadelphia, a MyNetwork affiliate owned by Tribune Co. He cited some rather big races in our area as the cause and said political advertising had affected a lot of dayparts, and news programs in particular. Most stations in the area looked ahead and sensed they would have a lot of demand at this time of year, and began to manage advertisers expectations. Stations can employ a few time-honored techniques to help manage their inventory when demand for political advertising is intense. According to one TV-industry executive with oversight of local stations, some TV outlets will reduce the number of in-house promotions they run, or could add some commercial time going into their 11 p.m. newscast. This executive said stations will often work with yearlong clients ahead of time to ensure they have the inventory they need. So what happens after the election? In terms of actual governance, if Republicans sweep to victory, they-like Obama-will likely find that change is easier to promise than it is to enact. But in terms of fundraising? Therell be a hangover after this election, Mr. Tracey said. There wont be a lot of cash on hand. Both sides-and incumbents in particular-are basically emptying their bank accounts on this one. And 2012 is just around the corner.

CONTRIBUTING: BRIAN STEINBERG LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Task force out to prove procurements no villain; Top execs from Pfizer, IBM, A-B, others band with ANA to shift view of discipline, starting with mentoring effort BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 956 words

Get over it. Thats the advice J&J senior executive Brian Perkins gave the industry when the subject of procurement reared its head at the Association of National Advertisers conference last month. His point is well taken; procurement executives arent going to vanish. But maybe their image can be raised. At least thats the goal of a new procurement task force set up under the Association of National Advertisers that includes high-powered executives from IBM, Johnson & Johnson, Toyota, Anheuser-Busch and more: to repair the widespread misalignment between procurement executives and their internal and external marketing partners. Its no small task. To merely get over it-the it being the feeling that procurement has historically had little interest in buying creativity or strategy-is easier said than done. Especially considering its

not just agencies decrying procurement anymore. In fact, an ANA study this summer found not only a wide disparity between how procurement officers and agencies view how well procurement is doing its job, but a significant perception gap among marketers as well. Only 49% of marketing executives thought their own procurement units were knowledgeable about marketing. Agencies and procurement look at things diametrically opposed, but the surprise was that marketingwhich a lot of us assumed was in the corner of procurement-is sort of in between right now, said Avi Dan, founder and president of New York-based consulting firm Avidan Strategies. They arent condemning procurement, but my sense is marketing departments are becoming a bit concerned that too much is being cut out of fees. Although tensions have been steadily mounting, theres been little in the way of formal moves by the industry to address the problem, until now. Based on the results of the survey, its clear that some marketing procurement colleagues are having more success than others, the committee co-chair, James Akers, senior director-worldwide procurement, global category, lead, commercialization and communications at Pfizer, told Ad Age. The overall goal is that everyone who works in marketing procurement becomes as smart as possible about the marketing space and adds value to their companies. The taskforce recently held its first meeting, during which it assembled an impressive group of top officers to comprise a new procurement mentoring program. That is the first priority, but there is also a secondary goal of the Procurement Task Force to address education in the procurement marketing field more broadly, perhaps through a formal curriculum. There is also an effort to address branding and public relations in the field, and to create a white paper that defines the role of marketing procurement. How will the mentoring program work? Each of the individuals can be called upon to provide oneon-one counsel to people who have held procurement roles but never have been involved in the process of how companies purchase marketing services. Said Mr. Akers: If you apply supply-side approaches, its not going to work. There needs to be a change. While procurement has been around for awhile, most in the industry estimate that its entry into the world of marketing dates back only about a decade. In many instances, companies moved procurers from other departments into the field who are not necessarily marketing experts. The hope of the task force is to help officers at least understand the language of marketing and understand how to communicate with people in that department. I know procurement people who understand marketing, so its a generalization to say none do, but there are some that dont understand it, Mr. Dan said. In the opinion of industry executives, the program could help fuel some positive changes in the conversation that are already taking place. In the past, said Susan Giannino, chairman-CEO of Publicis USA, [procurement officers] challenged our numbers, the cost of our people. They evenand these are procurement people who have never worked with an agency-would tell us that it was too many people for that scope [of work] or too many account people vs. creative. How would they know? It was like being litigated, Ms. Giannino said. I wont say that its not like that ever anymore, but

its not like that as much. More and more these days, not all of the procurement discussion starts with cost or an antagonistic challenge about how the agency makes money. Some procurement officers are getting smarter at understanding that buying advertising services isnt the same as buying other commoditized things, said Andrew Benett, Worldwide CEO at Arnold Worldwide. Good procurement folks on the client side are being more strategic, and youre seeing that with them being more open to some innovative compensation schemes. One of the best things I ever heard from a client about agency remuneration was We want to be the most profitable account in your agency because we want to be the most valued. But sometimes, you have procurement at odds, wanting it to be the least-profitable contract in the agency, because thats how they are evaluated. And pretty much all parties agree something needs to be done. It is absolutely about time for procurement to begin to see themselves as not just a way to reduce money, but to get more value, Ms. Giannino said. I totally applaud the effort of procurement to evolve their role, to find out how they contribute to helping the advertisers get the agencies to create the most value for them. Were not there yet, conceded Arnolds Mr. Benett. But we are moving to a place where what were brokering is not a transition, its a relationship. I think in a couple of years, well have a different landscape. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Why I think Pepsi Refresh needed the Super Bowl BYLINE: RANCE CRAIN

SECTION: Pg. 2 Vol. 81 LENGTH: 849 words

Samsung Electronics wants to more than double its sales, and it wont get there by making better products. Consumers make purchases not because Samsung or anybody else makes the best product, but because the brand has deeper social and cultural meaning, according to Ralph Santana, senior VP and CMO of Samsung Electronics North America. But, he told the Association of National Advertisers conference in Orlando, just knowing your space within culture and consciously behaving along this paradigm is not enough to ensure success. Mr. Santana said the key is to have a brand idea that has a mass sensibility to it. And then you need to scale your message and make sure that the idea is getting enough exposure to be successful. Meanwhile, on the other side of the country in San Francisco, a PepsiCo exec was saying much the same thing about the need to bond with the consumer. Society is moving fast, and we have to move faster. We as organizations have to move from impressions to connections, said B. Bonin Bough, global director of digital and social media at PepsiCo. And, he said, referring to Pepsi Refresh, the much-ballyhooed program that awards grants for civic and social programs, As an organization, when we announced it, everybody at this town hall hugged each other, loved each other. Everyone from the CEO down was laser-focused on getting the thing right, Mr. Bonin told the Direct Marketing Associations annual conference. He added that Pepsi Refresh is now going global and that it will be back in the U.S. in 2011. So far 46 million votes have been cast for projects to donate money to. Back in Orlando, Mr. Santana, a 16-year Pepsi veteran, elaborated on the Pepsi Refresh project. We had a genuine story to tell, we were right on point with an insight about empowering consumers and enabling meaningful change. We had a culturally relevant idea that tapped into a mass sensibility, and we were authentic and transparent about what the Refresh Project was trying to accomplish. But it is yet to get most consumers involved. Pepsi got the 1% of influencers, the 9% of the participators, but what we learned was that the predominant use of social media and narrow-casting tactics missed the masses-and Pepsi is about as mass as a brand can be. So the key learning for us was that in addition to having a cultural idea that taps into a mass sensibility, you need to make sure that your idea is getting enough exposure to be successful. So I submit that Pepsi might well have built a tipping point sooner if it hadnt skipped the Super Bowl. We had the correct insights, Mr. Santana said, but we didnt reach the tipping point of the masses. Pepsi has diverted as much as one-third of its marketing budget to Refresh.

(Pepsi, for its part, said Mr. Santanas remarks were incorrect. In a statement, the company said, The Pepsi Refresh Project was launched as a 360-degree marketing campaign, including: targeted influencer outreach, celebrity involvement, sports sponsorship activation, employee, bottler and customer engagement, substantial public relations activities and-as widely reported-a significant mass multimedia investment to coincide with the program launch on Feb. 1. The Pepsi Refresh Project far surpassed consumer engagement and awareness expectations and industry benchmarks within the first several months of the campaign.) Whether or not Mr. Santana is right that Project Refresh was slow to reach its tipping point or Pepsi is right that the campaign is wildly successful, the bigger question is whether any marketer should put all its eggs in the do-good basket. Its risky to build your entire campaign around a cause that doesnt give any tangible reasons for consuming your product. Theres also the danger that consumers could conceivably tire of causes or decide that Pepsi, a marketer long known for its ability to amuse and entertain, is taking itself too seriously. After all, were talking about fizzy soda water here. All said, it hasnt been very successful in the new campaign department lately, and Coca-Cola has done a good job of leveraging its Open Happiness campaign in a myriad of ways around the world. PepsiCo has announced it is buying time on the Super Bowl next year, so it could bring the Refresh Project to more of the masses-though it has said the buy is for Pepsi Max. Mr. Santana, in his ANA speech, said mass brands are having a tougher and tougher time predictably connecting with consumers. One reason, he explained, is that were seeing an increase in the distrust of institutions. Consumers are splintering off into micro-communities, and with endless content consumers are adopting an ADD-like mentality, moving from one thing to the next to the next. Mr. Santana said the next frontier for marketers is culture-casting, which means infusing cultural meaning into brands and reaching the masses within a specific cultural context. Thereby, Samsungs objective, he said, is to identify the right culture space for its brand and develop a singular idea that embodies the brand and resonates with that space. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Correction Appended COUPON CLIPPING STAGES A COMEBACK; Redemption rises 23% in 09, first gain in 17 years-and so far its up again in 10

BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 892 words

The recession didnt help many industries, but it may prove the savior of print coupons. Even consumers in their 20s and 30s appear to be adopting the coupon-clipping habit, defying what once looked like long odds, declining newspaper circulation and the growth of digital media. Newspaper inserts still prevail, but as a younger generation gets hooked on print coupons, theyll likely be ones that arrive in the mail or from their own printers. And that doesnt even factor in the harder-to-quantify growth of mobile coupons, which dont go through clearinghouses. Last year, redemption of coupons that do go through clearinghouses surged 23% to 3.2 billion coupons (and up 30% to $3.5 billion in value) in the U.S., the first gain in 17 consecutive years, according to data from Valassis Communications, which also owns NCH, one of the largest coupon clearinghouses. Maintaining growth against comparisons like that seemed unlikely going into 2010, particularly amid a recovery, however mild. Yet its happening. Through the first nine months of 2010, coupon redemption is up another 5.3% to 2.5 billion vs. the year-ago period, with the value of coupons redeemed up 7.7% to $2.8 billion. Despite rapid growth, internet coupons still account for only 1% of distribution. The majority of overall growth in redemptions still come from freestanding print inserts, which accounted for more than 2.1 billion redemptions overall last year, according to NCH data. Coupons could be helping to prop up Sunday newspaper circulations, which fell 4.5% in the six months ended Sept. 30 vs. a year ago but did a bit better than the 5% decline in daily circulations.

For newspapers in Minneapolis, St. Petersburg, Baltimore and seven key Gannett markets, Sunday circulations actually rose. Many of those newspapers, particularly the Gannett papers, have focused on their Sunday print editions-including campaigns to highlight the value of coupons within. The National Newspaper Network is preparing to release a report later this month showing 91% of consumers ages 25 to 34 use newspaper coupons, a percentage thats in line with historical rates for the age group, said Jason Klein, CEO of the group. Many marketers cringe at the phrase the new normal, not only because its getting shopworn, but because it refers to consumers turning permanently frugal thanks to a deep recession followed by a slow recovery. Not so for the couponing industry, which sees a generational behavior change inherent in that phrase that bodes well for them. Research from Deloitte, SymphonyIRI and Nielsen among others in the past year all point to consumers spending more cautiously and seeking deals more aggressively for the foreseeable future. I think were seeing this whole recession really helped us pick up those millennials who were not as focused on money management and savings and now have entered the marketplace with a real savings mentality, said Suzie Brown, chief marketing officer of Valassis. Certainly some marketers have been doing their part to fan the flames with unusually attractive coupon offers. Procter & Gamble Co.s Old Spice has dropped buy-one-get-one coupons almost continuously since February. Hurt by resulting share losses, Unilevers Axe responded with two BOGO offers of its own the past three months. Birds Eye took the unusual step recently of offering a national coupon for a free full-size package of its Steamfresh products. But consumers coupon fever may not keep rising, in part because most marketers are trying to cool it. While redemption is still up on the year, it was flat in the third quarter. Thats largely because marketers cut the average time between distribution and coupon expiration by 15% to 9.3 weeks, according to NCH. Marketers are also piling on more requirements for multiple purchases. Some signs point to consumers passion for online coupons growing slower too. The Google Insights for Search index on the word coupon grew 5.6% through the first 43 weeks of this year, slower than the whopping 42% increase in the same period last year and the 33% increase the year before. Either way, its not clear how much longer newspapers will benefit from coupon growth. Valassis still reaches 60 million U.S. households most weeks with coupon inserts, just like in 1998. But today 14 million of those homes get their inserts via direct mail. Thats a response to household penetration of Sunday newspapers declining from 42% in 1998 to 30% last year, Ms. Brown said. Starting in January, Valassis rival NewsAmerica will start sending its SmartSource coupon inserts via Valassis mail program to those 14 million households too-one outgrowth of the companies settling their long-running antitrust litigation last year. While internet coupons account for only 1% of overall distribution, they were up to almost 10% of

redemptions last year, per NCH data. Were last years growth rates to continue, internet coupons would account for more redemptions than FSI coupons by next year-though a repeat of last years 185% growth will be extremely tough. Valassis own fledgling digital coupon business grew more than 500% last quarter as its freestanding insert revenue declined 3.7%. That was because the company is just getting into digital coupons and dropped two weeks of RedPlum distribution, hiking profits by shipping fewer, bigger inserts. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH CORRECTION-DATE: November 8, 2010

CORRECTION: In Coupon Clipping Stages a Comeback, (AA, Nov. 1), Valassis will distribute NewsAmericas coupon inserts via its mail program starting in January, but it wont reach the 14 million households cited in the story. NewsAmerica said it will only distribute SmartSource inserts to 4 million households through the mail program. In the market share chart accompanying the story, the heading Direct mail should be Internet; the heading Internet should be Handout; and the heading Electronic Dispensed should be Direct Mail. PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 PEOPLE ON THE MOVE SECTION: Pg. 20 Vol. 81 LENGTH: 648 words

Mark LaNeve, senior VP and chief marketing officer of Allstate Insurance Company, will add to his duties leadership of the agency sales operation for the property and casualty insurer. In addition to his marketing responsibilities, he will be responsible for all agency sales support activities, including acquisition and retention processes, education and compensation. Mr. LaNeve served in a variety of senior-level marketing, sales and general management positions in the automotive industry for more than 25 years. Prior to joining Allstate in 2009, he was VP-sales, service and marketing at General Motors Co. Bob Winter has been appointed chief creative officer of Young & Rubicam, Chicago. Mr. Winter comes to Young & Rubicam from Leo Burnett, Chicago, where he served as senior VP-executive creative director for more than three years, creating work for clients such as Altoids, Kellogg Co., Greenpeace and Caesars Palace. Prior to Leo Burnett, he was creative director at Goodby, Silverstein & Partners in San Francisco, where he worked on clients including Ace Hardware, Budweiser and Netflix. Before that, he spent eight years at DDB, Chicago, rising to VP-creative director. While there, Mr. Winter, who has earned recognition at Cannes, Clios, One Show, D&AD and Communication Arts, created Budweisers Real Men of Genius campaign. R/GA has promoted Vin Farrell, head of production, to VP for the agencys Digital Studio. Mr. Farrell has been with the agency since 2007. In addition to managing operations for the in-house production arm, he will be charged with expanding the Digital Studio to R/GAs global offices. Prior to joining R/GA, Mr. Farrell was senior director-content and integrated marketing production at Spiketv.com. From 2004 to 2006, he was an agency producer at Digitas, where he produced and directed work for The New York Times, Pfizer, the Boston Globe, Gillette, FedEx, American Express, General Motors, Eli Lilly and KitchenAid. Mr. Farrell is also the founder of Iron Films. Porter Novelli has restructured its global health-care practice, creating new roles for existing talent and external hires in New York and London. Dr. Barbara DeBuono, Porter Novellis chief medical officer, will lead the practice as global director-health and social marketing. She has also assumed management responsibilities for its New York-based practice. Prior to joining Porter Novelli in 2009, Dr. DeBuono was executive director-public health and government for Pfizer. Susan Hayes joins Porter Novelli for her second stint with the agency and will serve as a partner in New York, managing the shops Novartis business. Cheryl Nigro comes to Porter Novelli from her own firm, Rethink LLC, to become exec VP and lead the agencys Merck business from the New York office. DraftFCB health-care agency dDFCB has appointed Martin Laiks exec VP-managing director. Mr. Laiks was most recently at Grey Groups G2, where he was managing director at the health and wellness practice, which he launched and led. Prior to Grey, he was with Modem Media in Connecticut, where he co-managed the agencys largest account, Delta Airlines, providing branded direct, interactive marketing, CRM and online advertising expertise. Mr. Laiks new role will include leading all digital business-development efforts, integration and operations. The Wall Street Journal has named Anthony Cenname publisher of WSJ magazine. Mr. Cenname

joined the Journal in May 2009 as multimedia sales director for the luxury group. He previously spent 10 years with Travel & Leisure magazine, rising to VP-advertising director. Before that, he also served in several capacities at Cond Nast Publications, including advertising director for Details magazine and U.S. director of advertising for Cond Nast International. Mr. Cenname replaces Sophie Raptis, who has been named European sales director for the Journal. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 DONT GET OVER IT, GET WITH IT SECTION: Pg. 1 Vol. 81 LENGTH: 119 words

Among those participating in ANAs procurement task force: Lisa Figel, group category manager-U.S. agency procurement, J &J Tracy Allery, category director-procurement, relationship marketing, digital, consumer planning, Diageo John Cirigliano, senior procurement manager, IBM Brett Colbert, global manager-advertising, A-B InBev Jeff Devon, director-global marketing, HP

Michael Howerton, global procurement service, Cisco Antonio Humphreys, strategic sourcing-marketing services, Gap Ron Jensen, national manager-financial synergies, Toyota George Roumanis, agency management team, IBM Sohan Shah, purchasing manager-media & advertising, Nestl Business Services Donna Stamp, marketing procurement director, Enterprise Holdings LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 WALMART BIEBER; Retailer snuggles up for semi-exclusive relationship with tween heartthrobs line of music, fragrances and, yes, nail polish BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 736 words

There may not be a hot toy for 2010 on par with last years Zhu Zhu pets, but Walmart might be able to make do this holiday season with a hot import from Canada rather than China: Justin Bieber.

Walmart is increasingly dominating the market for all things Bieber heading into the holiday seasonincluding exclusive lines of nail polish and a fragrance designed or inspired by the 16-year-old Canadian tween idol and Twitter phenom. Mr. Bieber has developed a very special if not entirely exclusive relationship with earths biggest retailer, though Walmart declined to comment on just how extensive the partnership may yet become. On Oct. 27, Mr. Bieber told his 5.6 million followers on Twitter, where he ranks No. 5, just behind Barack Obama and just ahead of Ellen DeGeneres, that his acoustic album will go on sale first at Walmart Nov. 22. Thats a day ahead of the general market release. Specifically, he Tweeted: ACOUSTIC ALBUM hits WALMART on NOV 22nd!!! Yes, it was a three-exclamation-point event. Its hard to imagine just how many of those javelins will be flying in the next few weeks as Walmart also gets first dibs on Mr. Biebers fragrance line, My World, which will appear on Black Friday (Nov. 26) at the giant retailer. The unisex fragrance line, backed by Mr. Biebers manager Scooter Braun, Island Records and Etoile Nation Beauty, comes in four scents priced at $10 with each meant to be mixed and matched for a personalized smell. In a kicker that plays perfectly on the years biggest toy craze, Silly Bandz, it will also come in the form of scent-infused wrist bands and dog tags. But wait, Mr. Bieber will need to hold back some exclamation points in that quiver, because theres more. Coming in December, Walmart gets first dibs on a Justin Bieber-designed line of nail polishes from Nicole by OPI, including one titled One Less Lonely Girl, after one of the tween heartthrobs more popular songs. The giant retailer gets this all three months ahead of the rest of the market, which will have to wait until after Christmas. All of this is particularly timely for Walmart, which finds itself needing to fill a void in the tween idol department. The retailer was heavily invested in Miley Cyrus, who succeeded Mary-Kate and Ashley Olsen as the namesake for an apparel line and host of other licensed merchandise aimed at the tween market. But Ms. Cyrus stock and Q Scores have plummeted among tweens and their parents of late thanks to a host of well-publicized attempts by the 17-year-old to appeal more to an adult audience, including racy videos and a faux girl-on-girl kiss on TV in the U.K. One possible fill-in for Ms. Cyrus, Selena Gomez, doesnt quite have the same awareness level and is signed to an exclusive Kmart deal. Q Scores began tracking Mr. Bieber only this year, but hes made a big splash fast, with his awareness rating surging from 60% in March to 86% in September. Among teens, Mr. Biebers awareness went from 67% in March to 94% in September, the latter score actually making him the most-recognized of any celebrity among teens, said Q Scores Exec VP Henry Schafer. His positive rating, however, still trails those of Disney princesses Ms. Gomez and even a post-poledance Ms. Cyrus. Mr. Bieber rates a 23% positive score among tweens and 19% among teens. As hes relatively new, his positives are likely to grow, Mr. Schafer said, adding, I think [Walmart]

made a good choice. So far, though, his Walmart association hasnt dominated the discussion online. Google Insights for Search shows searches for Walmart and Bieber pulled away from those of Target and Bieber this year, but the retailer still lags Amazon and Bieber. Fortunately, though, searches for Walmart and Bieber passed those for Walmart and Cyrus back in June. And by far the biggest search spike came in October on Bieber nail polish thanks to the sheer novelty and blog interest. The spate of temporary exclusives on Justin Bieber merchandise in beauty care are in line with a host of such deals in the past year under Walmart VP-Beauty and Personal Care Carmen Bauza, including bringing in former prestige cosmetics brand Hard Candy last year. But as the pacts also extend to music, it suggests a broader deal with more categories to come. Walmart, however, isnt saying if its Bieber fever is spreading. A spokeswoman said the retailer generally declines to comment on its partnerships. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 You are what you watch, market data suggest; Research links personality traits to consumers viewing habits, helps marketers match brands with audiences BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 12 Vol. 81

LENGTH: 1440 words

Whether you choose to watch Brothers & Sisters or Mad Men at 10 p.m. on Sunday says a lot about you. According to psychographic ad targeter Mindset Media, the TV shows you watch can offer marketers key insights into your personality. For instance, very modest people are more likely to watch the bluecollar hero show Deadliest Catch while altruistic people tend to prefer cooking shows like Rachael Ray and reality shows with happy endings like The Bachelor. Your personality determines what you consume, what TV shows you watch, what products you buy, and all the other decisions you make-political choices, for example, said Mindset Media CEO Jim Meyer. We didnt invent psychographics or personality traits-they are really the things that separate buyer groups where demographics fail. BMW, Audi and Mercedes buyers, for instance, are a fairly homogenous demographic group; however, each car appeals to a different type of personality, he said. Thats where psychographics come in. To find out which personalities are attracted to which TV shows, Mindset Media recently analyzed self-reported data from about 25,000 TV viewers across more than 70 TV shows. What they found were common personality traits among many of the shows audiences of people who answered that they regularly tune in. Only a few mainstream shows like House and Bones didnt have any single personality that stood out statistically either because the audiences are so broad, or the fact that personality isnt a driver of viewership. Mindset began the research at the request of marketers who already use their data online to target customers by psychographics or personality mindset online. However, the marketers wanted to know if they could apply the principles of online psychographic media buying to offline media like TV. Mindset will make the current data available to its clients, but also plans to take an ongoing look at consumers TV personalities, updating the TV data quarterly and expanding it to include a wider range of shows. They shared data with Ad Age from seven shows that are on many media buyers short lists already. Mindset detailed not only what common personality traits they claim each show is more likely to attract, but offered a sample of advertisers that it believes are more likely, or less likely, to appeal to people with those personalities. (A caveat: Yes, we know and agree that many humble people adore The Office and plenty of agenda-following realists love Mad Men. The study, and story, are about statistical group tendencies; that is, the increased likelihood that a group of people who watch a particular show will tend to have one or more similar personality traits. It is not saying that every individual watcher of

Glee is open-minded and longs to buy a Volkswagen.) MAD MEN Creative people are 41% more likely to watch Mad Men than less creative people. While that certainly could apply in the marketing world to the typical agency guy, creative people are also emotionally sensitive and intellectually curious types who tend to more often be dreamers rather than realists. Advertisers with strong appeal for them include Apple and Audi A6, while Microsoft and GMC Sierra would be less likely to grab their interest. Mad Men watchers are also more likely to be liberal. Liberals, in fact, are a whopping 124% more likely to watch the ad drama than other people. Social liberals, as defined by Mindset, disdain moral authorities and believe children should be exposed to moral dilemmas and allowed to draw their own conclusions. These people prefer brands such as Blue Moon and American Express, while they would likely not be as interested in Campbells soup or a Cadillac Escalade. FAMILY GUY Off-color cartoon comedy Family Guy draws an audience of rule breakers or rebels who are 61% more likely to watch the show. Rebels dont like authority, rules or structure they deem unfair, and usually wont hesitate to make their feeling known with anger or sarcasm. Brands that would appeal to rule breakers are DiGiornio and Ford F150. Risk takers (not to be confused with rebels in the survey-risk takers have more bravado) are 50% more likely to watch Family Guy. They are open to new challenges but they also tend to be accepting of others and easy to get along with. Advertisers that would appeal to risk takers are Totinos and Harley-Davidson. Those that would make less of an impression are Dannon Light & Fit and Volvo C70. GLEE Gleeks tend to be very open. So-called experientialists are 24% more likely to watch the teen singing drama, and in fact, some of their characteristics track with the Glee personas themselves. They are open people who believe that imagination and intellectual pursuits contribute to a good life, and go out in search of unique and varied experiences. They are in touch with their own feelings and may even feel happiness or sadness more intensely than others. Brands that connect with them include Evian and Volkswagen Jetta, while Quaker cereals and Chevy Silverado hold little appeal. Glee, like Mad Men, also attracts a creative audience, although not as strong. Creative people are 17% more likely to watch Glee than less creative people. DANCING WITH THE STARS For all the glitter and celeb-gawking on the reality dance show, it is traditional personalities who tune in. Traditionalists are 21% more likely to watch DWTS. Traditionalists are the opposite of the experiential Gleeks, and instead prefer stability and the tried and true. They respect authority and generally have their feet firmly grounded. Advertisers who would appeal to these solid citizens include Kraft and Chrysler Town & Country, while Kashi and Toyota Prius have a much harder sell. Dancing fans also tend to be compliant. The get-alongs, as Mindset refers to them, are 16% more likely to watch the show. These personalities tend to defer to others in an effort to get along and are

quick to smooth ruffled feathers in an argument. They dont like aggressive behavior and are usually quick to forgive and forget. Brands that connect with them include Fiber One and Buick Regal, while those that wouldnt be as interesting include Mountain Dew and Chevy Silverado. THE OFFICE Like Michael on the show, watchers of The Office think they are superior to others. In fact, folks who consider themselves superior to others are 47% more likely to watch this show. These alpha dogs believe they are extraordinary and happily brag about their accomplishments. They also prefer to be in charge, directing others rather than being directed. Brands that would be a good buy on the show include Starbucks and BMW Series 3, while McDonalds and Lincoln Town Car would not be so good. Experientialists (like Gleeks) are also more likely to watch The Office by 44% over the average. They are the types that seek out new experiences as a way of living life more fully. Brands that appeal to them include V8 and VW Beetle, while Doritos and Dodge Caravan hold less of an attraction. THE BIGGEST LOSER People with personalities that fall low on the creativity scale tend to watch this dramatic weight-loss show. Realists are 20% more likely to watch. They are pragmatic people who live in the present and work with what they have been given. They are emotionally stable and less prone to highs-and-lows drama. Advertisers that would be a good buy include Bud Light and Cadillac CTS. Newmans Own and Nissan Leaf are brands that would likely be a less successful buy. Less open people, the traditionalists that also gravitate to DWTS, are 24% more likely to watch The Biggest Loser. These tried-and-true types prefer brands Velveeta and Honda Odyssey, while Cascadian Farm organics and Honda Civic arent their cup of tea. REAL HOUSEWIVES OF ORANGE COUNTY Mr. Meyer described this as a very advertiser friendly show, and while one could see the potential for certain glam brands, the kind of personality the viewers of the show is pugnacious. Pugnacious people are 33% more likely to watch the show. These antagonists are unafraid to tell others what they think and value honesty over keeping the peace. Brands that resonate with them are Botox and Apple, while those that dont include Buick Lucerne and Honda Odyssey. Leaders are another type of personality that gravitate to this show. Leaders are 25% more likely to watch. They are willing to take charge, of course, with a plethora of ideas and strong vision, and they deal with others inclusively, but decisively. Leaders prefer brands such as Nike and Crest Whitestrips, Maxwell House and Hyndai Accent not so much. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age November 1, 2010 Alex Bogusky would have to burn bridges, blow whistles to really become the next Ralph Nader BYLINE: MATTHEW CREAMER SECTION: Pg. 14 Vol. 81 LENGTH: 1277 words

One of my creative director contacts had a not terribly nuanced reaction to the news last week that Alex Bogusky, probably the best-known adman of the 21st century, is reinventing himself as a consumer advocate. What a hypocrite, this usually level-headed fellow spat. He should give back all the money hes made on advertising. I dont agree. The idea that, in the name of consistency, one is locked into a career is a fundamentally depressing worldview. Reinvention should be allowed. And, anyway, Mr. Bogusky has always been concerned with social causes. Even while selling burgers and Jettas, the firm he founded was working on an innovative anti-smoking campaign, among other causes. We shouldnt have an issue with Mr. Boguskys post-advertising, pro-consumer life. The problem is with the way hes unfurling it. His general dissatisfaction with working in an agency business that required him to market brands like Burger King and Dominos-whose artery-clogging, animalbutchering product lines offend his values-has been clear for some time. It was implied by his 2008 book, The Nine-Inch Diet, and made more explicit when he left MDC Partners this summer. But until last week it was unclear what shape the post-MDC chapter would take. Would he start a socially-conscious agency? Hook up with a venture fund? Join up with the monks he had visit him in Boulder? And I would argue that after Tuesdays announcement on the Fearless website, its still pretty murky. Heres what we know. Mr. Bogusky wants a bill of rights for consumers, based on a 1962 plan from President Kennedy that didnt go anywhere, to be updated through the magic of crowdsourcing and

then signed by all corporations. Thats right, all of them. To help the cause, hes selling T-shirts made in American Apparels downtown L.A. factory, a socially responsible source-if lining the pervy Dov Charneys pockets can be said to be responsible. And thats about it. Along the way, Mr. Bogusky has compared himself to Ralph Nader, which, at the risk of being rude, is not just laughable. Its ROTFLable. Mr. Nader may at this late date come off as an election-ruining clown in a flammable suit and shoes from Sears, but hes a baller when it comes to consumer advocacy and has been since the 1960s, when he got into the game by launching a full-frontal attack on automakers woeful safety record. His Unsafe At Any Speed is a landmark of policy-shaping investigative journalism that inspired a generation of young idealists to head to D.C. to unleash hell on irresponsible corporations. Those guys had an awesome name that I think Alex would like-Naders Raiders. When he was done with Detroit, he turned to the environment, anti-nuke movement and other causes. Public Citizen, the organization he founded, has more than 140,000 members. Mr. Nader, who has a face for telegraph, became an honest-to-God celebrity along the way, even hosting Saturday Night Live in 1977. Mr. Bogusky has Nader beaten on looks and charisma by an electric-vehicle-traversed mile. Money, too, since Mr. Nader lives on $25,000 a year, reportedly. Communications-wise, Mr. Bogusky has the platform that someone whos an ad business microcelebrity has: 37,000 Twitter followers, a web TV show, a blog, a diet book that ranks somewhere around 328,000 in the Amazon.com sales charts. Projects he backs are a cool bikesharing program, a company that makes cars more environmentally friendly, and a nut butter. Ill allow you to decide whether he stacks up to Mr. Nader; I would still say its not inconceivable that one day well be talking fondly about a movement hes created, Boguskys Muskies or some such. I think for him to get to that point where he has influence beyond the Fast Company set he has to do something he hasnt really done or shown the willingness: sell out the ad business. You know, blow some whistles or something. What really sets Mr. Bogusky apart from other rich, accomplished middle-aged guys with a yen for bikes and tofu is his inside knowledge. He knows how the chicken fries are made, how the subservient chicken is actually pulling our strings. He must have a million secrets about the fun-withchemistry! horror shows that go on in those companies that are turning Americans into lethargic glops. Sure, a diet book is nice, but will he ever tell all about how consumers really get manipulated, and tell it from the perspective of someone who was in the inside at the top of his game? Right now, the revolution feels corporatized. Among the offerings listed on the Fearless Revolution website is Consulting: We help big companies and titans of industry uncover the consumer advocate hiding inside the layers of corporate BS. And Design: Advocacy can be designed. From business models to the products themselves, its all design. If you agree, we might be just the special sauce youve been looking for. Then theres Boulder porn, a few pics of tanned, lean smarties tapping on Macbooks and, steamiest of

all, the Fearless Cottage, a fetish object for sustainable-design enthusiasts. Theres a blog and the video interviews, which are legitimately interesting if you like over-long chats with experts on things like advertising to children and bicycle safety. Thats all fine, but it doesnt feel like the stuff of insurgency or a rewrite of Naderism for a world where consumers are more empowered than they used to be. It feels like an ber-cool blend of corporate social responsibility, something PR types have been yammering about for years. Maybe rather than Ralph Nader, Mr. Bogusky should really be thinking of himself as a latter day Jeffrey Wigand. You may recall that name from a movie called The Insider, in which the real-life researcher at Brown & Williamson was played by a gray-haired Russell Crowe. Wigand took evidence that Big Tobacco knew about its products extreme health risks to 60 Minutes, whose craggy journos, in an act of extreme wussiness, first scuttled and then aired a gelded version of the story. Mr. Bogusky wondered whether a former advertising executive is allowed to become a consumer advocate, but I plan to give it a shot. This is still America after all. History-and by history I mean Mad Men, where Emerson Foote appeared at a footnote in a episode where Don Draper turned the appearance of conscience into a marketing vehicle-tells us it is. Mr. Foote, a mid-century ad exec, turned against his longtime clients in the tobacco industry. To speak out against tobaccos dangers, Foote had to sacrifice his high-paying advertising career in a day when things like that werent really done. Once the head of major agency offices, he ended up having to seek a job by taking out a full-page ad in this magazine in 1965. Mr. Wigand lost his marriage, career, received death threats and, while sitting in a paranoiac stupor, had a hotel room melt on him Salvador Dali-style (in the movie version). Mr. Nader was the victim of a snooping operation by General Motors that includes a parade of babes that tried to get him into compromising positions. To be sure, Mr. Bogusky is making sacrifices of his own. As self-described creative insurgent, he presumably will not be making millions of dollars a year, as he did for some years at MDC. And he has left behind the industry where he is truly and rightfully famous. But theres something missing. I get that hes trying to change companies from within, but its difficult to see that as advocacy in the vein of a Nader. Truly rejecting and taking on corporate structures that have welcomed you in, trusted you and paid you very, very well is very, very hard. But its also the way to be truly fearless. LOAD-DATE: November 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 BET FINDS NEW LIFE IN ITS GUIDING BRAND PILLARS; CMO Roll explains the changes that have lead to the networks ratings renaissance BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 16 Vol. 81 LENGTH: 1158 words

Its barely fourth quarter, and BET Networks is already having its best year ever. The Viacom cable network has seen record ratings growth for the last 18 months and a bigger, wider audience tuning in than ever before on the strength of shows such as The MoNique Show, Sunday Best, Tiny & Toya, 106 & Park and its signature BET Awards, 2009s highest-rated non-sports cable telecast and one of 2010s most-watched events of the summer. But getting to that point has not been easy for the network for Exec VP-Chief Marketing Officer Janet Roll. As recently as 2007, BETs ratings were at a standstill and the network was viewed as a risky environment for major marketers like State Farm and Home Depot, who pulled their ads from a reality show called Hot Ghetto Mess. Not to mention Procter & Gamble Co., which was urged by watchdog groups to pull its ads from controversial shows (it ultimately resisted). But 2009 called for a refreshed, more culturally relevant BET Networks, which meant it had to get back to its roots: its audience. Ms. Roll teamed up with BETs research team to better understand what the BET brand meant to black consumers in a post-Obama America. After polling more than 70,000 African-Americans, Ms. Roll was able to identify five key consumer segments, or brand pillars, of BETs audience: We Are Family (family-oriented, parent-friendly), Fresher Than That (trendsetting, music-focused) Shine a Light (politically aware), Backing Black Dreams (aspirational, career-focused) and Not on Our Watch (socially conscious, cause-minded.) These would be the five key tenets on which everything at BET was measured against, from programming to marketing messages to talent.

The pillars were created to help guide us to not do certain things. If it didnt respect, reflect or elevate our audience, we had to ask ourselves, why are we doing this? Ms. Roll said. The pillars also coincided with BETs robust, risk-taking new programming slate that saw the network expanding outside its core audience of young, music-leaning consumers to become a more general-entertainment network for African-Americans and beyond. Reality series Tiny & Toya and Frankie & Neffe, a spinoff of BETs top-rated Keyshia Cole: The Way It Is, both meet the Fresher Than That criteria and became buzz-worthy hits last year. The Family Crews, a series profiling football player-turned-actor Terry Crews, embodies the We Are Family pillar and also drew strong Sunday numbers for the network. That approach has also made BET more marketer-friendly, with P&G teaming up with the network in 2009 for a co-branded makeover series, My Black Is Beautiful, to promote its product line of the same name targeted toward black women. Grey Goose (Rising Icons), NASCAR (Changing Lanes) and Smirnoff (Master of the Mix) have all since signed up for their own co-branded shows with the network. Jan. 11, 2011 brings a pair of scripted series, the original Lets Stay Together and new episodes of The Game, a CW sitcom picked up by BET after its cancellation in 2009. Because of the considerable anticipation for both series (The Game has more than 2.4 million fans on Facebook), Ms. Roll will use those series debuts as an opportunity to debut a new tagline and on-air look for BET, which she says will reflect the networks changing voice. Its all the latest stepping stone in Ms. Rolls nearly 20-year career in entertainment marketing. Prior to joining BET in 2007, she headed up programming for AOLs Black Voices and Womens and Lifestyle networks. She also had a five-year stint at MTV Networks overseeing new business opportunities for VH1 and CMT, introducing new brands and franchises such as the VH1 Radio Network, and spent her first nine years in the industry with HBO in various roles, including marketing for the companys home-video division. Ad Age recently caught up with Ms. Roll at BET Networks Times Square headquarters in New York to discuss how the networks five brand pillars are driving its ratings renaissance and why BET is more than just a niche network today. BET had some branding hurdles to overcome in 2009. How would you characterize where the brand is today under your new five-pronged strategy? The goal with any brand strategy is to meet your consumer where his priorities lie. And its a unique opportunity to mean something to your audience. The fact that people can say BET means something to them now is at the core of who we are. Our responsibility is at an even higher level than other brands in our market, so we want to make sure were always doing the right things before marketing them. We want to be about it before we talk about it. Your recent ratings growth would suggest that youre now competing with general-market cable networks, and not just among your core audience of 18-to 34-year-old African-Americans. Is BET more than just a niche network these days?

The response I have from our audience has never allowed us to think of ourselves as a niche. AfricanAmericans have never thought of us that way; theyve always thought of us as meaningful and vibrant as any market segment. Our responsibility is to be a broad window into African-American culture for other people. And if you look at this years Census data, its very difficult to think of AfricanAmericans as niche anymore. Your audience is more vocal than most on social-media platforms, and often BET shows and personalities will pop up as trending topics on Twitter at random moments. How do you leverage that as a marketer? Its something we consider incredibly important, and its an important element of our marketing mix. The question is, does it have a correlation to ratings? Its interesting as a marketer to try and crack that code. The Game, for example, already has 2.4 million fans on Facebook from its previous seasons, and we would rather try and engage that audience than try to replace that ourselves. That fan base has more power than I can have as a marketer; we want to see how we can have them join in our conversation. After 2009s BET Awards were adjusted at the last minute to become a tribute to Michael Jackson just three days after his death, expectations are higher than ever for BET to be up to the minute with its audience. How do you manage those expectations? Events like that make us ask ourselves, is there anything more we could have done as a brand? For a long time we were criticized for our lack of news presence, but the notion that we could somehow win at that business was challenging. So we brought back Ed Gordon [a longtime BET news anchor who left in 2004] to meet those expectations. When we first started on our brand work, we were trying to be all things to all people. But we settled on being more things to more people. My job is to direct you and help you understand the full array of offerings BET has, no matter what your interests or background may be. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 Enhanced TV will be great for viewers, chaos for marketers; New gadgets may mean addressable ads, but they also mean audience will fragment even more BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 1121 words

Futurists tell us this: New technology will make our TV-watching more active, interesting and fun. For advertisers, however, this new video world to come will be onerous, difficult and almost insufferable. In the not-too-distant future, consumers will use remote controls to respond to commercials; see ads sent directly to them through a TV set-top box; and use a web-enabled TV to stream video on-demand or tweet alongside an episode of Modern Family. And these new TV ads could come at a premium to their normal 30-second counterparts. Theres lots of competition on the road to such a future-among boxes that connect TVs to the web, settop boxes that help deliver interactive and addressable ads, still more boxes also help viewers stream video and turn the TV into a home theater or video-game arena. But in this battle, the real losers will be advertisers trying to reach a mass audience, at least for now. Advanced television functionality has been around for years, but it has always been fragmented and inconsistent, said Michael Bologna, director-emerging communications at WPPs Group M. That has been a problem for advertisers. Advertisers want to reach mass audiences. Simply put: The more gadgets that debut in the marketplace, the more fragmented the audience. After decades of creating TV ads and bombarding the masses with them across broadcast and cable, must marketers now craft commercials aimed at that Xbox audience; that subset of viewers eager to use a remote to get a coupon emailed to them; and those residents of the home who dont mind their information compiled into their set-top box? Marketers are approaching the new technology gingerly. They are leery of the added production costs that could arise from having to produce extra pieces of promotional content for new technologies. They are resigned to the fact that, in many cases, they may have to craft individual commercials for specific venues. And then theres the biggest question: Will consumers react to their newfangled ads? We have an enormous customer base, and we need to drive pretty big consumer volumes on a weekly basis, said Tony Pace, chief marketing officer of the Subway Franchisee Advertising Fund Trust. A fair amount of people who consume television are very into their show, but they dont want

to be doing anything else. So are they really going to be excited about responding to an interactive ad? Theres a small group thats very eager, and the question is, how valuable are they to your brand or business? Thats what were trying to get a sense of now. To be sure, some of this stuff is already available, and more of it is set to come into the marketplace (as any technophile eagerly awaiting the chance to buy a Google TV can tell you). Canoe Ventures, backed by a consortium of large cable companies, has already established technology that allows for national ads that give viewers the option to request information from the marketer. The ads are already on Comcasts Style network and, over the course of the next few weeks and months, are slated to be on E!, AMC and Discovery Channel, among others. The commercials offer a core level of interactivity that research has suggested consumers really want, said David Verklin, Canoes CEO. So-called addressable advertising is also inching closer, with NBC Universal recently taking a stake in Invidi Technologies Corp., a company that has developed technology to distribute specific ads to particular households, based on selected data available about them, and then measure reaction to those narrowed ad pitches. Like other futuristic ad counterparts, the technology has been difficult to implement in broadscale fashion, particularly because the competing cable and satellite companies use different kinds of equipment. This is not an easy thing to figure out, said Michael Kubin, an exec VP at Invidi, in a recent interview. The technology is hard. There are a lot of barriers to implementation. Putting software into set-top boxes is not easy. There are a lot of barriers, but we have narrowed them down one at a time, and we are getting there. Despite the hoopla accorded web-enabled TV sets, consumers ultimate reaction to them is yet to be determined. Very few people want to engage in online chat, follow friends on Twitter or vote for their favorite TV-show contestants through the TV, Forrester found in an August report, noting that some owners of the newfangled TV sets didnt use the web connections very often. Those that did used the TV set primarily to watch offerings from Netflix and YouTube. Evidence even suggests no single wonder gadget will be embraced by the majority of the TVwatching population. Penetration of digital-video recorders in U.S. TV households will reach just about 33% by the end of 2010, according to research from Interpublic Groups Magna Global. Likewise, Forrester predicts only one-third of U.S. homes will have a web-connected TV by 2015. New services and gadgets often cost new dollars that the recession-battered consumer lacks. Marketers could be left scrambling to cobble together a string of commercials across an array of niches. One ad may cater to those who have embraced new technologies and have an interest in responding to a TV commercial. Another may focus on the old-school generation that likes to sit on the couch and watch TV in the normal passive fashion. A third may center on subscribers to a particular video distributor, like Comcast or Echostar. A fourth could work with Xbox, TiVo or a TV with a web connection. One researcher suggests advertisers will face a split public: a leading edge that adopts the new technology and a broader base that wont see much initial use for it. Just because we can do it

doesnt mean the consumer wants it, said Alan Wurtzel, president-research and media development, at NBC Universal. There are probably some consumers who would be very interested, but I just dont know how big it will be and how you scale it up. Until that question is answered, look for marketers to build their own advertising experiments, testing them with one media outlet, then another, in an effort to build reach for their campaigns. Toymaker Mattel, for instance, has created an interactive digital-cable channel for its popular Barbie doll. To do so, it crafted deals first with Cablevision Systems Corp., then EchoStars satellite-based Dish Network and, most recently, AT&Ts U-Verse. The idea, yes, is to continue to extend it, but we can only extend it as fast as technology allows, said Jeanne Hanahan, senior director-corporate media at Mattel. Not every system or carrier has the platform that would be able to host what we want the channel to be. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 Ad industry finally gaining some respect in China; Spirits up at conference amid signs government now values importance of advertising as a business BYLINE: NORMANDY MADDEN and ABBEY KLAASSEN; NMADDEN@ADAGE.COM AND AKLAASSEN@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 463 words

With ad spending growth still in the double digits, ad agency executives in China are in buoyant spirits, but the mood at this years China International Advertising Festival in Nanchang is especially positive, thanks to recent signs the government is looking to invest in and recognize the importance of advertising as a business. Government officials and agency leaders are buzzing about a speech given last weekend in Chengdu by Liu Fan, vice minister of the State Administration of Industry and Commerce (SAIC), which regulates Chinas ad market. Advertising is fundamental to economic development and sustaining a harmonious society, he said in Chengdu, and so the SAIC will incorporate that industry as a pillar of Chinas economy in an important five-year plan that goes into effect in January 2011. Until now, Chinas government has largely regarded advertising-as well as entertainment and mediaas a tool for propaganda, a way for the government to share state-sanctioned news at home while selling China through soft-power communication overseas. Mr. Lius speech suggested the governments attitude is changing because it now sees the ad business as, well, a business. China now recognizes advertising as a commercial activity, said Alan Rutherford, the International Advertising Associations London-based chairman-world president, while sipping jasmine tea in a smoky hotel lobby in Nanchang. There will be a lot more focus on creative development and that will help China build global brands and grow creative talent. Mr. Liu also announced some changes in authority for advertising standards and practices. Whereas this role used to be entirely the responsibility of national bodies such as the State Administration of Radio, Film and Television (SARFT), it will now be shared between national and local regulators. Call me a cockeyed optimist, but this news sounds mighty good to me, said Tim Love, Omnicoms CEO for Asia/Pacific, the Middle East and Africa in Singapore, in an email to Ad Age. China has 31 provinces, many with completely different dialects and cultures. A pluralistic overview of advertising standards and practices will better reflect the differences in China. It could also pave the way for local officials to increase-or decrease-the amount of airtime on TV and outdoor space that can be dedicated to advertising. An increase would be heartily welcomed by advertisers, who find media time increasingly expensive in this fast-growing market. The SAIC will also take a stronger hand in dealing with deceptive advertising, which are a particular concern in the real estate industry. The festival, an annual event held in a different city each fall, only attracted local agency representatives a decade ago. Today, major global names turn up. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 25, 2010 DISPATCHES FROM CHINA; WHAT IT MEANS TO BE A MILLENNIAL IN THIS COUNTRY BYLINE: ABBEY KLAASSEN SECTION: Pg. 8 Vol. 81 LENGTH: 708 words

To be a millennial in China is to never have known what a recession looks like. Its to have known only economic expansion and rapid, accelerating change. Its to have learned English in school and accessed the world via the internet. Its to celebrate national pride as your country hosts the Olympics and now a World Expo that has filled the hotels in Shanghai and saw 1 million visitors last Saturday. As Shanghai-based Arto Hampartsoumian, Bartle Bogle Hegartys CEO of China (Ad Age Chinas Agency of the Year in 2009), puts it: The only thing millennials here have known is positivity. This 80s generation, as he calls it, has never had a bubble burst. In a word, its about optimism. And Stephen Drummond, a longtime student of Chinese culture and behavior and national planning director at Y&R in Shanghai, says the so-called Golden Generation, ages 18 to 35, represents significantly bigger change than the baby boomers brought on in the West. Thats the sentiment I heard over and over again as I spent the first part of the week in Shanghai, meeting agency execs, marketers and general managers of the Chinese divisions of Fortune 500 companies. I have to admit, its kind of refreshing, coming from my recession-addled part of the world. The government is highly protective of this optimism, of course, as evidenced by the positive spin put on much of the news produced by the state-influenced media (at least as it relates to China; news

about the U.S. is another story). And advertising promotes the sentiment. As the BBH folks in China point out, messages about having to persevere through tough times just dont resonate here. Rather, the success storyline in advertisements is about going from happy to happier or, as Ad Age China columnist P.T. Black told me, in line with the government philosophy of social harmony. Last week, Asia Editor Normandy Madden and I stopped by PepsiCo to visit with Richard Lee, the chief marketing officer for PepsiCo China. Mr. Lee, who has responsibilities for both snacks and beverages under him, left China three and a half years ago for a global marketing role based in New York and just returned this past summer to Shanghai. He noticed two big changes between when he left and when he returned, he said. First, the pace of change had accelerated dramatically, and it was happening across China. Places hed previously known as farmland were now dotted with stores and restaurants. (And his own marketing team had grown from 30 or 40 people three years ago to more than 120 today.) Secondly, the digital footprint has dramatically expanded into greater China and its third-and fourthtier markets, sating a content-starved population and creating an emerging population that may not have access to indoor plumbing but knows Wayne Rooney. Youve got an enormous country with a 2,000-year history going through a period of great economic expansion-and at the same undergoing the digital revolution. That mix has created a non-linear evolution, more Big Bang than Charles Darwin. And the Chinese believe everything is possible. Mr. Lee said thats allowing categories to develop more easily here because people lack the skepticism of the West. Theyre willing to try things and take risks. We have to look forward and take risks-we cant adapt the same old model, he said. Asked who has done that well, he points to the mobile-phone industry in emerging markets, where companies such as China Mobile, MTN in Africa and Airtel in India have built new models to address those markets. Indeed, the biggest worry a multinational such as PepsiCo faces in China isnt its other deep-pocketed Western-based competitors but the emerging local brands that have higher tolerance for the risk required here and lack the baggage of business models developed in another part of the world. That doesnt mean the U.S.s influence is declining, but rather than economic its increasingly cultural. And branding is something the U.S. has always done extremely well, Mr. Lee pointed out. Everything is a brand-and the Chinese crave exposure to that and, thanks to the internet, are increasingly getting it. Unlike Japan, whose great economic boom came before the mass internet age, in China its happening simultaneously. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 25, 2010 DISPATCHES FROM CHINA; AD INDUSTRYS TALENT POOL CANT KEEP UP WITH FAST GROWTH SECTION: Pg. 8 Vol. 81 LENGTH: 493 words

Its ironic, but the biggest challenge facing marketers and advertising agencies in this country of 1.3 billion people is a lack of human talent. Nearly everyone Ive spoken to on this whirlwind trip through Shanghai and now Nanchang, where the countrys local advertisers are gathering for the China International Advertising Festival, has complained that the talent pool here is just not deep enough to support the kind of growth the industry is undergoing. Talent was the unequivocal answer when I asked the general manager of one multinationals luxury operation in China what keeps him up at night. And Bryce Whitwam lamented the fact that there are lots of fresh grads in China, but too often the training and talent level just isnt there. People cant find jobs. And we cant hire them, he said, recalling when his shop interviewed 30 people for a design position and none of them were right for the job. Why is it so hard to find people to support the burgeoning advertising and marketing industry in the land of plenty? For starters, Chinas business culture is a young one and the training programs are still relatively underdeveloped. Many of the people running marketing teams and in senior positions in agencies are from Taiwan, Hong Kong or North America-ABCs and CBCs (American-born Chinese and Canadian-born Chinese, respectively). Theres also the fact that advertising hasnt been one of the countrys more important sectors, as viewed by the government. Instead, its pushed areas such as automotive or telecommunications,

rewarding those industries deemed pillars of the economy with investment and development assistance. And then theres the fact that the market is changing so dramatically and rapidly that many universities (which are mostly state-run), staffed by advertising professors who havent practiced in decades, arent training a ready-to-hire marketing workforce. And thats when there are advertising programs at all. Viveca Chan, who runs a successful Chinese marketing shop called WE, describes a creative exodus from the industry that sounds eerily like what weve experienced in the U.S., with creatives leaving to launch their own creative boutiques, or taking on higher-paying jobs in other sectors such as consulting or finance. So with all of this, the market seems ripe for some education investment. Where is the VCU Brand Center for China? Some universities are adding marketing programs and there may be more on the way, given the governments recent interest in investing in the local advertising and media industries. But when I brought up the notion during my week of meetings, few people seemed to enthusiastically buy into the solution. Perhaps itll just take time, but the question is whether the market can afford to wait. Measured-media spending grew 16% this year, per Group M, and most suspect well see double-digit growth in advertising for the next five years, since ad spend tends to outpace GDP. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 Packaged goods suffering from dearth of innovation; A bad economy might seem to favor basics like shampoo over frills like iPads, but not this time

BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1065 words

Packaged goods are supposed to be recession-resistant staples people cant do without. Yet things have been different in this recession. People have proven they can do without, or at least spend less. The downturn hit household and personal-care products harder than expected last year, and the rebound this year has been weaker than many expected. Private-label market shares, while stalling last spring after a big run up, resumed their upward march this summer. While packaged food did fare well as people ate out less, private-label shares have surged there, too. On the surface, all this makes sense. The market is tough. But consider this: As people cut back on packaged goods, they are still doling out for such things as smartphones and tablet computers-many of them coming with steep monthly tariffs on top of three-digit price tags. The reason? According to some industry watchers, its simple: Tech companies are innovating; CPG companies arent. Only four in 10 CPG companies are investing more in product research than they were 10 years ago, said Pat Conroy, vice chairman and U.S. consumer products leader at Deloitte. Theyve lived on product extensions as opposed to developing truly innovative products. When Mad Men ruled in the 1960s, packaged goods and home appliances brands were product stars by bringing the big breakthroughs in life: status, convenience, enabling people-especially women-to lead more meaningful lives, said Stef Gans, CEO of consultancy EffectiveBrands and a Unilever alum. You could argue that electronics are delivering that, exactly, today, he said. Theyre closely linked to status. Theyre making your life easier. Losing status with consumers as an industry has huge implications. Sanford C. Bernstein last month issued a report comparing global household and personal-care marketers today to prescription drug marketers several years back as key patents were expiring. Like prescription drugs lost share to generics, household and personal-care brands are losing to private label, which are growing at twice the rate of national brands in developed markets since 2001, according to Bernstein. As a result, the drug companies have seen a series of consolidations and declines in stock prices relative to earnings. Category innovation is getting harder because many consumer needs have already been met, said Bernstein analyst Ali Dibadj. Global HPC players also have shifted focus from new products and categories in developed markets to extending existing brands and technologies to developing markets. That provides growth, Mr. Dibadj said, but also dilutes margins. Back home, the perceived quality gap with private label is shrinking. Eight in 10 consumers now believe store brands are made by the same manufacturers that make national brands, according to

Deloitte. Thats not generally true, Mr. Dibadj said, but the perception is bad news for brands. In Bernstein research last year, 77% of consumers said their experience with less expensive brands was as good or better as with more expensive ones, similar to Deloitte findings that upwards of 80% of consumers thought that way, Mr. Conroy said. Broadly, satisfaction with CPG brands slipped in the past year. The American Customer Satisfaction Index from Michigans Ross School of Business released last week showed customer satisfaction with personal care and cleaning products fell two points to 83 after three years at 85. Share leader Procter & Gamble Co. led the way, down three points to 82 (Unilever and Colgate-Palmolive Co.s scores were unchanged). Beverages broadly slipped, too. By contrast, the ACSI earlier this year found gains in consumer satisfaction for such things as personal computers, (up three points to an all-time high of 78), wireless phone service, (up 3 points to an all-time high of 72) and subscription TV (up 4 points to a 10-year high of 66). Clearly some consumers have adopted a save to spend mentality, said Ralph Blessing, exec VPstrategic innovation for GfK, cutting back somewhat on what were once seen as essentials to instead spend on sexier things such as Kindles, iPads and flat-screen TVs. A bad economy might seem to favor basics like shampoo over frills like iPads, but the reality is different.Walmart has seen more people waiting for payday to buy things such as staples and milling around in stores toward midnight on the first day of the month, waiting for electronic benefit cards to recharge so they can buy essentials. That implies people doing without as the end of the month nears. But folks with the money and inclination to buy iPads or iPhones arent hurting as much. The unemployment rate for college graduates was only 5% in August, down 0.2 points from a year earlier. The rate for high-school graduates with no college degree was nearly double that at 9.7% and up 0.4 points in a year, according to Global Hunter Securities. Even within personal care, sales of prestige cosmetics and skin care from the likes of Este Lauder, LOrals Lancome and P&Gs SK-II have bounced back nicely in the past year, while mass brands and product lines have come back more slowly or not at all. For their part, CPG marketers still see consumers willing to pay for their innovations. We see shoppers trading up in some categories, said Unilever CEO Paul Polman in an email. In the U.S., our launch of P.F. Changs meals offering restaurant-quality Asian cuisine has done very well with consumers seeking an indulgent treat or choosing to eat at home rather than eat out. Dove Men+Care and Dove Nutritum body wash are also doing well. Indeed, despite being more expensive to use than bar soap, body-wash brands hiked sales nearly 10% last quarter in the U.S., according to SymphonyIRI data from Deutsche Bank, thanks to a big push from Unilever, P&G with Old Spice and Beiersdorf with Nivea, among others. Razor sales, sluggish for two years, rose 35% last quarter thanks to new system launches from Energizer Holdings Schick Hydro and P&Gs Gillette Fusion ProGlide. And a premium-priced and

radically redesigned U by Kotex line extension boosted sales for that long-declining Kimberly-Clark Corp. brand 13% in sanitary pads and 57% in tampons last quarter. Weve been through several recessions, said P&G Global Brand-Building Officer Marc Pritchard, and what weve seen consistently is that it takes innovation to pull out. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 THE CREATIVITY AWARDS REPORT; In a year marked by meaningful brand ideas, The Martin Agency pulls out the most-awarded campaign while Wieden & Kennedy wins as most-lauded shop BYLINE: TERESSA IEZZI; TIEZZI@CREATIVITY-ONLINE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 687 words

The most winning work of the last awards season included a web/social media experience that brought history to life, a live sports event that became a TV show, a billboard campaign that served as social commentary, an outdoor installation controlled via mobile phone, a live/multiplatform piece of cubic content, a prank on Italian men, an integrated campaign, a Twitter-to-road-translating robot and a Facebook campaign/furniture giveaway. There was even a commercial. Much of the honored brand work in the seven biggest award shows reflected a more expansive definition of creative, and an industry starting to move beyond the bounds of advertising and toward

more meaningful brand ideas. If there was criticism of some of this years most-lauded work, it was that a few of the digital initiatives-things like the creative darling, Ikea Facebook Showroom-were somewhat light. They were short-term hits rather than big swinging brand ideas. But, looked at another way, that work showed agencies growing knack for making things that make sense to people in the real world, for harnessing everyday behavior in the service of brands and working in symphony with the most used web and social-media tools instead of reinventing the wheel and orchestrating big, long lead-time campaigns. And there were certainly meaty business ideas represented among the winners-things like Best Buy Twelpforce from Crispin Porter & Bogusky. There were also big content ideas, like TBWA\Chiat\Day L.A.s Replay campaign for Gatorade, which brought together rival high school football teams for a rematch and which saw the agency evolve into a producer of TV content. The Creativity Awards Report tallies results from the seven top industry shows-the ADC, AICP, Andy Awards, Cannes Lions, Clios, D&AD and One Show-and offers lists of the most awardwinning agencies, networks, creatives, directors, production companies and marketers. The report also scores the top campaigns, with lists reflecting most wins in each media category and most wins overall, regardless of category (see chart, top left). The scores are based on points assigned to each award type (Grand Prix, Gold, Silver, etc.). The Martin Agency and Domani Studios We Choose the Moon sits atop the overall, categoryagnostic list of most-winning work. The Moon site recreated the historic Apollo 11 moon mission exactly 40 years later using digital technology and archival images and audio. The Martin Agency and the digital shop that built the site, Domani Studios, recreated the 11 stages of the lunar journey in real time using 100 hours of audio transmissions and 400 photos from NASA and the library archive. A desktop mission tracker allowed people to follow the action; email updates marked key moments; and 650 audio clips were transmitted via Twitter, exactly 40 years after they were first sent. The agency says the site attracted 1.25 million visitors and the campaign drew 30,000 Twitter followers and widespread media attention, including live coverage on CNN. The initiative was an apt winner in that it demonstrated the power of execution in making a great idea accessible and compelling to a huge number of people, and embodied the more meaningful tone of some of the best work of the last year. The awards juggernaut that was TBWA\Hunt Lascaris Trillion Dollar Billboard for The Zimbabwean Newspaper was the top finishing entry in the Integrated & Innovative category (which incorporates things like the Cannes Titanium and Integrated Lions and other shows innovation prizes) and also topped the out-of-home list. That campaign and Gatorade Replay racked up big wins for TBWA but it wasnt enough to beat out BBDO as top agency network. Several BBDO offices put big awards numbers on the board this year,

including Almap BBDO, which won for work on behalf of VW, Bayer Aspirin and Havaianas, as well as creating the top print campaign, Bono/Eminem/Amy/Britney for Billboard; AMVBBDO for its much-awarded Choose a Different Ending campaign for the London Metropolitan Police, and BBDO, New York, for its hugely awarded Imagine integrated campaign for HBO. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 CW: study dispels myth about aversion to ads in online video; Fans watched 95% of spots to completion; industry sees signs that viewers will tolerate more intrusion into shows BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 3 Vol. 81 LENGTH: 798 words

In the infant business of streaming TV shows online, media companies have long been wary of putting digital viewers off with too many ads. But in what could become a tipping point, a new study finds that web viewers have a much greater tolerance for ads than expected. Turning the long-held tenet about web video on its head, the CW network has discovered that online fans of Vampire Diaries, Gossip Girl and other fare in September watched fully 95% of the commercials that accompanied the streaming of the show to completion-and 97% of them to their midpoint. And this is after the CW started this season to run nearly as many ads online as it does on TV.

The results, as determined by data the CW is using from ComScore and DoubleClick, dispels the myth that the online consumer will not watch commercials, said Rob Tuck, exec VP-network sales at CW. I do think this will generate a change in the business model, said Rino Scanzoni, chief investment officer at WPPs Group M. Up until this point in time, there was this pushback issue about acceptance of commercial messages online, he said. Clearly people are willing to accept advertising as they do on television in exchange for content. The CWs effort comes as some forces in the industry are working to ensure online viewers have more ads to watch. Nielsen has for the last few months been working on data that would take into account viewing of commercials that run in a particular show no matter whether they are seen online or on TV. For Nielsen to be able to provide the commercial rating, however, shows seen online will have to have the same group of commercials that run on TV. If this system were adopted en masse-and its not clear that it would be-online viewing might be crammed just as full of commercials as the more traditional TV-watching experience. The company expects to start making such data available in April, a Nielsen spokesman said. With more viewers getting their boob-tube fix by streaming favorite shows on the computer screen, TV networks and advertisers may have little recourse. Besieged by ratings dropoffs for their traditional TV programs, they may have to force new ad intrusions on consumers who had grown accustomed to seeing less commercial clutter online. Fewer viewers tuning in to One Tree Hill or Greys Anatomy on TV, after all, means the networks cant charge as much for commercials, and marketers cant get the reach they once knew the venue regularly delivered. By devising a system that measures viewers in as many different venues as possible, TV networks might be able to keep the ad cash coming in while stabilizing the ratings erosion that has troubled them for at least the past decade. If CW viewers are spending more time online, said Mr. Tuck, the network wants advertisers to compensate them for it. Our demographic is certainly going to go online, he said. We do feel this is a big part of the CW and has to be taken into consideration. The CW raised eyebrows earlier this year when it announced it intended to sell combination packages of TV and online ad inventory. The network started pondering the idea when executives noticed positive growth online for programs such as Vampire Diaries. CW uses online-impressions data from DoubleClick as well as Nielsen VideoCensus videostreaming data to give advertisers a sense of how its shows are watched online. Mr. Tuck said September data shows the CW delivered 99 million ad impressions to its total viewers-an increase of 330% over last September-and that viewers spent an average of 56.7 minutes watching. The CW audience, however, may not be typical. The network routinely programs to reach predominantly female viewers between the ages of 18 and 34, not to mention the occasional sci-fi fan peeking at Smallville or Supernatural. Those viewers likely feel more at home watching a TV show in a digital fashion.

Mr. Scanzoni thinks online viewers may even want to watch more ads-the theory being they are becoming more sophisticated, and have grown tired of the current ad model, which often consists of running the same ads from one or two advertisers throughout a single streamed episode. When you have a high frequency of specific advertising, you will turn off the consumer, he said. Not everyone will agree that online viewers are ready for more ads. At Hulu, for instance, running fewer ads still holds sway. Our experience has shown that a lighter ad load is a better experience for users and much more effective for advertisers, said a spokeswoman for Hulu, which is owned by NBC Universal, News Corp and Walt Disney. At ABC, which has garnered some distinction for the way it mixes ads with the streaming of its programs, each break typically sports two 30-second ads, said a network spokeswoman. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 ELECTION WATCH: THE RACES TO KEEP AN EYE ON SECTION: Pg. 4 Vol. 81 LENGTH: 169 words

This Novembers elections will test the success of the Tea Party, may upend Democratic control of Congress and in some ways offer a report card on President Obamas performance. Key contests to watch this season include the Nevada senate race between incumbent Senate majority leader Harry Reid and Tea Party-backed Sharron Angle. If Senator Reid loses, the legislative menu could change, especially if the Democrats lose their majority in both the House and the Senate.

Another election to watch is the California gubernatorial race between Democrat Jerry Brown and billionaire Republican Meg Whitman, who has invested $119 million of her own money into her campaign, more than any other candidate in history. Delawares senate race will also be important to observe, largely because the Tea Partys shining star, Christine ODonnell, is on the ticket, and her victory would signal the rise of conservative groups that may not necessarily be in line with the GOP. Heres a short list of other crucial races to follow. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 REPUBLICANS WIZARD OF ADS GOES WHERE FEW ARE WILLING; Fred Davis, adman behind Christine ODonnells Im You spot, talks about his daring life in politics BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 676 words

Fred Davis paced back and forth as he talked on the phone in an effort to stay awake. It was just after 7 p.m. on the West Coast, but he had been working for the past 15 hours on Tea Party queen Christine ODonnells latest campaign spot, and he was on the verge of losing consciousness. If I dont move around, I will collapse, he said. After almost four decades as an adman and the past 16 as a creator of some of the countrys most memorable political ads, Mr. Davis said he had been thinking about leaving the business. The brutally condensed production cycle of political campaigns

was taking its toll. You might be my last interview with a reporter-ever, he said. Ill believe it when I see it, said Rob Jesmer, the executive director of the National Republican Senatorial Committee, which is the GOPs official election arm for Senate candidates. He gets too excited about this business to leave it, I think. Mr. Jesmer and Mr. Davis had worked closely together on Sen. John Cornyns campaign in 2008. Sen. Cornyn and myself were attracted to Fred because he brings a unique perspective to campaigns, Mr. Jesmer said. Freds a brilliant guy, but I havent always agreed with his ideas. Mr. Davis has long been known as a maverick adman among Beltway hopefuls, producing unlikely and sometimes shocking commercial spots for candidates daring enough to engage his services. You may hate or love it, he said of the voters to whom he makes his appeals. I just want to make sure you notice it. The 58-year-old Oklahoma native got his start in advertising unexpectedly at 19 when his father died and he had to take the reins of the familys PR business. His first political client was his uncle, James Inhofe, who ran for Senate in 1994. He didnt really pay me, he said. He paid for the ads, of course, but he also didnt get to approve them. In February of this year, Mr. Davis created perhaps the first highly visible attack-ad of the season, known as the Demon Sheep ad. During the California Senate Republican primary, Carly Fiorina released an ad criticizing opponent Tom Campbell for claiming he was a fiscal conservative. The ad featured a man dressed in sheeps clothing with glowing red eyes, crawling through a meadow, suggesting Mr. Campbell was really a spender in fiscally conservative clothing. While Ms. Fiorinas candidacy was considered controversial within a fairly narrow spectrum of political philosophies, another one of Mr. Davis latest clients has a far more expansive range of controversial viewpoints. Ironically, while the Tom Campbell attack ad had a supernatural quality, Mr. Davis first spot for Ms. ODonnell was purposefully sober. Known as the Im You ad, Ms. ODonnell faces the camera and starts, Im not a witch. Im nothing youve heard. Im you. She then talks about her platform, but the spot was another unforgettable event in this election cycle, which proved Mr. Davis belief that getting voters attention isnt just about theatrics. What I always try to find is the good in the person themselves and not invent something and try to fit them into that mold, he said. You have to find something about that person thats real and work with that. With Ms. ODonnell, he met her over dinner and within five minutes came up with the Im You concept. She wasnt the freak outlier as portrayed by the press, he decided. After dinner, he scripted the spot in the hotel and shot it the following night. Thats politics, he said. You only have so much time. Notwithstanding the Tea Partys sometimes contentious relationship with the GOP, Mr. Davis said

Ms. ODonnells link to the conservative movement didnt affect his approach in crafting her message. You never, ever want to abandon the horse that brung ya, he said, but you need more people, pointing to the fact that she cant win entirely on the votes of the Tea Party faithful. Recently, however, Ms. ODonnell told Good Morning America that she regrets the Im You ad, which only increased visibility of her supposed extreme views. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 The Work BYLINE: Teressa Iezzi SECTION: Pg. 22 Vol. 81 LENGTH: 662 words

GOOGLE DEMO SLAM AGENCY: GOOGLE CREATIVE LAB How would you show Google off? Google Creative Lab and Johannes Leonardo have launched Google Demo Slam, an online campaign that recruits the general public into showing off various Google technologies, in order to increase awareness of the companys array of offerings, from Google Goggles to Google Mobile Voice Search. Films so far demonstrate how Goggles, for example, can recognize a human recreation of Mount Rushmore, or how Google Voice search works in the middle of extreme-sports action, or,

when your mouth is stuffed with marshmallows. Each film is pitted against another, and visitors are able to vote on the most successful demo. EXECUTIVE CREATIVE DIRECTOR: JAN JACOBS AGENCY: JOHANNES LEONARDO EXECUTIVE CREATIVE DIRECTOR: LEONARDO PREMUTICO PRODUCER: MATTHEW MATTINGLY ART DIRECTORS: ANTHONY ALVAREZ, BEN CLARE, EMMIE NOSTITZ, DAVE TOMKINS COPYWRITER: JASON ASHLOCK, BIPASHA MOOKHERJEE, IAIN NEVILL, ALEX ROMANS ACCOUNT DIRECTOR: DEAN RUBINSTEIN SITE BUILD/DEVELOPMENT: HELLO MONDAY 3D: STUPID STUDIO HOSTING: TIER 3

VATTENFALL NEIGHBOR DINING (SPEC) Killing two birds with one meal. Student Luong Lu proposes a way to mitigate urban loneliness and the energy waste in one social swoop. Sure, there are potential pitfalls (cabals of neighborly sadists and/or cannibals), but its a great realworld social idea. CREATIVE: LUONG LU JAY-Z DECODED CAMPAIGN AGENCY: DROGA5, NEW YORK Droga5, New York, goes all out for its launch of Jay-Zs coming memoir, Decoded. Until the books release on Nov. 6, the campaign will recreate each page of it on a traditional outdoor or not so conventional space-think billboard, the lining of a suit, or bottom of a pool-all of it relevant to where the content of each page originally took place. A partnership with Bing maps gives fans a chance to search for each page online via a scavenger hunt, which will provide daily clues to each of the page locations. The first players to find a page get a hard copy of the book with that page signed by the artist, and all will get thrown into a draw for the grand prize, a ticket to see Jay-Z and Coldplay on New Years in Vegas. MINI MINI GETAWAY STOCKHOLM AGENCY: JUNG VON MATT, STOCKHOLM Dont let go of this car! MINI Stockholm has launched this new mobile hunting game to promote the MINI Countryman, created out of Jung Von Matt, Sweden. Players home in on a virtual MINI on their mobile phones, catch it and then run as fast as they can out of its orbit to prevent other potential takers from swiping it. The first player to have the car in their possession for a week wins a real Countryman.

ACCOUNT DIRECTOR: JAN CASSERLOV EXECUTIVE CREATIVE DIRECTOR: JOHAN JAGER ART DIRECTOR: DANIEL WAHLGREN COPYWRITER: MAGNUS ANDERSSON VISUAL DIRECTOR: DANIEL FORERO PLANNER: LEON PHANG ACCOUNT MANAGER: IDA MODIN APPLICATION PRODUCTION COMPANY: MONTEROSA WEB PRODUCTION COMPANY: SUDDENLY XBOX FABLE III REVOLUTION AGENCY: AGENCYTWOFIFTEEN Agency TwoFifteen and Psyop teamed on Revolution, part of an integrated campaign for Lionhead Studios Fable III. The spot is set in the games fictional land of Albion and centers on the overthrow of a tyrannical monarch. Psyop created the CG action using game assets and re-detailed it to add an Old Masters look. The spot appears online and on TV, featuring song Young Men Dead from The Black Angels. The campaign will also include cinema, print and mobile components, including Tyrant Toppler, a game which allows fans to topple a statue of the bad guy and unlock prizes based on how many likes the game accumulates on Facebook and Kingmaker, a social, location-based game from McCann Erickson London for the European market. EXECUTIVE CREATIVE DIRECTOR: SCOTT DUCHON, JOHN PATROULIS ART DIRECTORS: STEVE COUTURE, JEREMY DIESSNER, ARAMIS ISRAEL COPYWRITER: MICHAEL ILLICK AGENCY DIRECTOR OF INTEGRATED PRODUCTION: TOM WRIGHT AGENCY PRODUCER: ALEX SPAHR PRODUCTION COMPANY: PSYOP/SMUGGLER DIRECTOR: PSYOP LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010

Great expectations: How Coke, P&G, Samsung plan to hit bold growth targets; Beverage titan and electronics giant aim to double sales by 2020; House of Ivory reaches for 1 billion more consumers in 5 years BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 825 words

Forget the prospects of a weak recovery, double-dip recession and all the talk of a New Normal where consumers are scared to spend. Marketers projections are bigger than ever. In fact, rather than an era of reduced expectations, this might be better termed the Era of Big Projections. Consider: At the Association of National Advertisers annual confab earlier this month, Coca-Cola Co. Chief Marketing and Commercial Officer Joe Tripodi talked of doubling its sales-now at $31 billion-within 10 years. Ralph Santana, once a top North American soft drink executive at Mr. Tripodis nemesis PepsiCo and now CMO of Samsung, did him one better by promising to nearly triple sales to $400 billion. Some of the growing list of big projections sound huge, but appear doable. Procter & Gamble Co. Chairman-CEO Bob McDonald last year set out to reach a billion more among the worlds 6.7 billion consumers within five years, bringing P&Gs total from 4 to 5 billion. Tough, but by P&Gs accounting, achievable. Even in a year when the company struggled to reinvigorate growth, P&G added 200 million consumers, right on plan. The North American leg of P&Gs plan to touch and improve more lives more completely focuses on the more completely part. In North America, P&G already reaches 99% of consumers with at least one product. The goal over the next five years is to get each one to buy at least one more. That would add $1 billion to $3 billion annually to the companys sales, which have been largely flat in North America the past couple of years. To that end, P&G last week launched a Have You Tried This Yet? campaign aimed at getting people to try just one among several products launched within the past 18 months. Among its tactics is a pop-up store in New York to encourage sampling its products (see story, at right). The Just One More idea is no small task, but not unattainable either. If each of the 133 million households in North America bought just one more P&G product annually, theyd only have to spend about $7.50 each to add $1 billion to P&G sales. A bigger-ticket item or repeat purchases that would drive the household sum up by $23 would add $3 billion in sales for the company. Other big projections sound amazingly hard to meet but could turn out to be easier than they seem, even if the path from here to there isnt entirely clear yet. Take Coca-Cola Co.s goal of doubling sales in 10 years. That comes out to a compound annual

growth rate of 7%-difficult, but not impossible for a company whose motto is Live Positively. Its even more possible without ruling out acquisitions or currency movements to hit the target. Its reasonable to assume Coke will buy some companies over the next decade, and given the size of the U.S. trade deficit, dollar devaluation seems a given. Coca-Cola, in setting its doubling goal last year, said it expected 60% of growth to come from such markets as China and India, vs. only 15% from developed markets. (Chief Marketing Officer and Commercial Officer Joe Tripodi said it wants to achieve 3 billion servings a day by 2020.) With sales up 5% last quarter, though, it will need to pick up the pace. P&G under Chairman-CEO A.G. Lafley nearly doubled sales in just seven years last decade, helped by liberal doses of both acquisitions (led by Clairol, Wella and Gillette) and currency devaluation. For the past three years of recession, however, sales have stuck around $80 billion. Unilever CEO Paul Polman, a veteran of P&G whose work in Western Europe helped P&G attain that doubling under Mr. Lafley, has set a similar goal of doubling Unilevers sales since he took over early last year. But hes done two things that make attaining that goal a little easier: He didnt set a timeline and he didnt specify that it had to be organic sales growth. Such things as the recent acquisitions of Alberto-Culver can help, as has the devaluation of the euro this year. On the other hand, he added a caveat that made it tougher-reducing total negative environmental impact while doubling sales. Samsung, which already holds leading shares across a dizzying array of consumer electronics and home appliance categories, has perhaps a tougher task even in a market with stronger growth prospects. Mr. Santana held one of the means to his end in his hand at the ANA meeting in Orlando-a yet-to-belaunched tablet PC that he noted was considerably smaller than the iPad ANA CEO Bob Liodice was using to organize his presentation. Mr. Santanas fit in his jacket pocket. The bigger solution for Samsung lies in going from a big brand with a largely functional image to what Mr. Santana called a curator brand, which he likened to ESPN-one that defines the notion of cool within its space. Thats not unlike, though he didnt say this, Apple. And its a tall order, one that Mr. Santana, who started at Samsung only three months ago, acknowledged will take some time-though, presumably, less than 10 years. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 ANOTHER BLUE CHRISTMAS FOR 2010?; The recession may be officially over, but consumers will be spending less and bargain-hunting more this season BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 99 words

Marketers biggest challenge this holiday season will be convincing consumers that the recession is indeed over. While economists have declared June 2009 as its end, consumers are still feeling cautious, and many plan to continue to pinch pennies this holiday season. That means bargain hunting, plenty of comparative shopping and less holiday travel. More shoppers will also be using mobile phones and social-networking sites to aid in their quest for the perfect gift. And when the shopping is all done, many will put their feet up in front of the TV. Here are some other trends to watch for. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 IN BATTLE OF VAMPIRES VS. ZOMBIES, DONT PUT MONEY ON THE LIVING DEAD; Success of Twilight franchise lifts vampire flicks above other horror genres, but creature features still have a stranglehold BYLINE: ANDREW HAMPP; ahampp@adage.com SECTION: Pg. 10 Vol. 81 LENGTH: 150 words

Its official: Vampires are more powerful than aliens and zombies-at least when it comes to the box office. This summers Twilight: Eclipse solidified bloodsuckers place in movie and box-office history as the second-highest-grossing horror genre, based on estimates of the top five horror-genre films compiled for Ad Age by Hollywood.com. Of course, there are all sorts of caveats. These gross grosses are not adjusted for inflation, and our choices are subjective-Are the Twilight films horror movies or romances? (Both, we say). But with no less than seven major horror releases out this fall, audiences cant seem to get enough. Theyre getting younger, too-Joel Cohen, CEO of MovieTickets.com, said 63% of online ticket buyers for Paranormal Activity 2 were between the ages of 18 and 29, and that horror fans account for more than 50% of ticket sales in the days leading up to a major release. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 WEPADS TAKE ON THE IPAD BYLINE: BETH SNYDER BULIK SECTION: Pg. 20 Vol. 81 LENGTH: 316 words

Already, the tablet market is starting to look a lot like iPad vs. the WePads. And since few competing tablets will be available for the holiday, it seems inevitable that iPad will have that market to itself. BlackBerrys PlayBook and Ciscos Cius, both aimed at business users, as well as Hewlett Packards consumer pad, wont be out until next year, nor, reportedly will be consumer pads from Acer, Lenovo and Asus. However, Samsungs Galaxy and two Dell products-the Streak mini-tablet phone and the Inspiron Duo netbook/tablet combination-will be on store shelves before the holidays. HPs Slate, aimed at business customers, was just introduced and its consumer product wont be ready until next year. Many iPad competitors are crafting campaigns, layering on plenty of bravado about their chances against Apple. There is plenty of opportunity, said HP Senior VP-Strategy and Worldwide Marketing Richard Gerstein. Its not like Apple invented the smartphone business, they were, like, 10th to that business, and obviously were able to come in with a great product. Dells tablets, the Streak (already out) and the Duo (coming soon), will be backed by a just-launched umbrella marketing and ad campaign from WPPs Y&R that includes several other Dell hero products as it strives to remake itself into a lifestyle brand and a cool company. A lot of customers dont go with the A company-they are going with the PC, thats where they want to be, said Paul-Henri Ferrand, chief marketing officer of Dells consumer and small-and mediumbusiness division, referring to the much larger combined market share of the PC makers vs. Apple computers. All this WePad confidence, however, still has to be proved. Apple definitely does have an early advantage, and it looks more and more like it will sustain that advantage, said Susan Kevorkian, an analyst with IDC.

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Advertising Age October 25, 2010 For struggling retail sector, iPad might just be the cinch that saved Christmas; PLAN IS TO LURE SHOPPERS WHO MAY THEN BUY OTHER THINGS BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 742 words

If theres a Halo product for retail this holiday season, its Steve Jobs iPad, the fastest-selling new product in Apples history. It is also turning into an all-important magnet for retailers such as Target, Best Buy, Sams Club and Walmart, which hope the mere presence of the device will bring new shoppers in the door with bigger budgets to spend. But first theyre going to have to play by Apples rules. In a bid to make the iPad as big and mainstream as the iPod, Apple has widened distribution for the iPad to big-box retailers as well as Verizon stores and Amazon. Its a tall order for a device that starts at $499 and tops out at $829 for the 3G version, but Apple will get a lot of promotional support from retailers hoping to get the upper hand. In fact, its requiring retailers that feature the iPad in circulars to devote an entire page to the device; the iPad will also feature in their local TV ads.

Analysts predict that shoppers looking for iPads as gifts will buy where they can knock other items off their lists, and where the iPad is cheapest. Retailers have no flexibility on the retail price of Apple products, but Target found a workaround, offering 5% off storewide-including the iPad-for using a Target-branded credit card. In expanding distribution, Apple goes from about 300 of its own stores-clustered in urban, affluent shopping areas-to 8,000 stores geared to mainstream America. Apple has already sold 7.5 million iPads, and Forrester expects it to sell at least that many in the fourth quarter. Expanding distribution to Walmart and Target makes the iPad more accessible to more Americans, said Forrester consumer product strategist Sarah Rotman Epps. But more importantly, it brings traffic into the stores where touching the iPad is part of the experience. One problem: Target isnt letting shoppers actually touch the iPad, because they say, the tether chain cant secure it. Theyll stay behind the glass due to the high retail [price] of the item, said Target spokesperson Kristy Welker. In contrast, Best Buy had demo iPads out, fully smudged. A staffer at Walmart in Secaucus, N.J., said the retailer is planning to put out demo iPads this week. Walmart is also carrying a host of e-readers: Amazons Kindle, the Sony e-Reader and Barnes & Nobles Nook. Accessible or not, the question is how much the presence of iPad at retail helps juice sales of other products. Big-box retailers have a history of selling books and DVDs at a loss to bring in the right kind of consumer: those that spend a lot on other things. They also take slotting fees from vendors for shelf space, but observers said they doubt Apple is paying much, if anything, for that privilege. For Target and Walmart in particular, the challenge isnt growing the pie, but taking share from electronics retailers, toy stores, the web and yes, Apples own stores. An iPad is one of those devices [consumers] go spear-fishing for; if its on their list-they will go to the store where its available, said Forrester retail analyst Sucharita Mulpuru. Every incremental visit they can get to the store, people will pick up five to six other items. What else will they buy while theyre there? According to New Media Metrics, those with high brand affinity for the iPad are also fans of other Apple products, but also for Dell Computers (go figure), Xbox and Nintendo Wii. They also have a high brand affinity for Walmart-higher than Best Buy or Target. Brand fans will also likely buy plenty of high-margin third-party accessories, such as the $40 iPad covers that seem mandatory for the device. According to Accenture, 4% of consumers plan to buy a tablet as a holiday gift, while 7% plan to purchase an e-reader and 10% have a laptop or netbook on their holiday list. Among other retailers stocking iPad, dont expect Verizon stores to have much of an impact. Both the iPhone and 3G version of the iPad are exclusive to AT&T, though Verizon versions of both have been long-rumored.

Amazon carries the iPad, but is heavily promoting the Kindle, and is expected to sell 1 million of them in the fourth quarter, bringing the total to 6 million sold over the past several years. Amazon is putting it front-and-center on the landing page, while forcing iPad shoppers to dig for the device. However iPad sales net out for the retailers, the real winner is Apple, which will get loads of free marketing in holiday circulars and local TV and newspaper ads. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 TURNING SAMPLES INTO SALES BYLINE: THOMAS PARDEE SECTION: Pg. 18 Vol. 81 LENGTH: 217 words

No free sign waved in front of P&Gs New York pop-up store Friday, but people got the message all the same. Hundreds filed in and out of the corner location in midtown over the course of its first day of business, queuing for free hair-color treatments, skin evaluations and take-home samples of some of the consumer giants most recognizable brands. Its all part of its Have You Tried This Yet? initiative, which aims to introduce new P&G products to its already-loyal consumers. And try it I did. Along with dozens of others, I enjoyed a shampoo and conditioning treatment with

Head & Shoulders products and a styling with Pantene classic gel and hairspray (I declined a Clairol Nice N Easy color treatment and a CoverGirl color-match consultation, though I couldve had those, too). I watched my smile digitally rendered to show how it might look after a Crest Whitestrips Advanced Seal regimen, and even submitted to a Siascope reading, which bore distressing news about the state of my dull, uneven skin after a summer in the sun. The samples may be free for now (the shop will shutter for the year after Oct. 31, and the products will be featured in the companys BrandSaver book), but P&G is one marketer that knows that if you bring a horse to water, it may just stay thirsty for a lifetime. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 Consumers hearts bleed red-and blue; Top U.S. brands favored much higher among one political party or the other, survey finds BYLINE: NAT IVES; nives@adage.com SECTION: Pg. 4 Vol. 81 LENGTH: 290 words

Forget red states and blue states for a second. Is your brand a red brand or a blue brand? Many of Americas top brands rate much higher among one political party or the other, according to an analysis of YouGovs BrandIndex survey results.

Google is the top brand for Democrats, according to an index incorporating consumer impressions of its quality, its value, their satisfaction with it, its reputation, their willingness to recommend it and their general impression of it. Google doesnt appear in Republicans top 10. Republicans, on the other hand, rank Fox News tops; Fox News, perhaps not surprisingly, doesnt appear on the list of Democrats favorite 10 brands. JetBlue is the third-ranked airline brand among Democrats, but doesnt crack the top five among Republicans, the BrandIndex analysis shows. Republicans rate Aflac among their top five insurers, while Democrats make room for Progressive. Although consumers arent usually buying a big brand because they think its owners are actually on their political side-potential exceptions such as Ben & Jerrys aside-marketers may well benefit from knowing how political partisans view them. Target says it didnt suffer any bottom-line damage after gay-rights supporters and some customers protested its $150,000 contribution to a group supporting a candidate opposed to gay marriage. But it might have avoided the whole mess if it considered its perceived political image first. Target is the fourth-ranked retailer among Democrats, according to BrandIndex, but is nowhere in the top five for Republicans. Many brands perform well among members of both parties: Cheerios, UPS, FedEx, Craftsman, J&J, the History Channel and the Discovery Channel have appeal across political divides. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 The great debate: Agencies, marketers take sides on unbundling, procurement and the role of digital

shops BYLINE: RANCE CRAIN; rcrain@crain.com SECTION: Pg. 12 Vol. 81 LENGTH: 907 words

The big financial holding companies got into trouble because they tried to push a broad array of financial services-everything from mortgages, loans, investments, even real estate-to consumers whether or not they wanted to put all their assets under one roof. The ideal of a financial supermarket really never caught on, even though it made sense from a corporate viewpoint. Does the same thinking hold true for agency holding companies? Three agency execs recently squared off against three client types at the Association of National Advertisers Conference over the holding company dilemma, rebundling media services, procurement and other contentious issues. Our Jack Neff posted a story about the discussion on our website, and after absorbing the comments, one reader observed: The problem I have with holding companies, whether the agency at issue is a full-service agency or a media agency, is the pressure within the agency to push the holding companys various services, not based on their making sense, but rather a dictum from on high. Even the agency representatives didnt seem overly enthusiastic about the holding-company concept. Andrew Robertson, president-CEO of BBDO Worldwide, said I would submit that provided the quality of talent in all of those component parts is high enough, you have a slightly better chance of making that work when the people youre requiring to collaborate are part of the same company. And, he said, Just being global is not enough. You have to have good agencies locally. Really well coordinated mediocrity is no good to anybody. Brian Perkins, VP-corporate affairs of Johnson & Johnson, said his company is still waiting for the holding company to become more than the sum of its parts. Its not easy. But he went on to say that the walls are breaking down slowly. Lisa Cochrane, VP-integrated marketing communications at Allstate Insurance, said clients had to take half the responsibility for the holding company not working as well as it could. We have to be willing to pay for it to help it along. As clients we get in the way by being unwilling to pay for services. On another toss-up question-whether it was a mistake to unbundle agency media services-Ms. Cochrane said, Whats important is collaboration. Id like to see it totally together. Its not only important but we insist on it. Mr. Perkins agreed. They should be together. I remember how badly media folks were treated, and I apologize for it. But the media people cant be crosstown. Were not going to pay for two

overheads. Mr. Robertson said he categorically disagreed with Shelly Lazarus statement that the agency world might have made a mistake by unbundling. We never would have gotten the quality of research and modeling. It never would have happened. He said the media work was never that good when it was buried in the bowels of the agency. Crispin Porter & Bogusky CEO Chuck Porter took up the issue of procurement people negotiating fees. We should be rewarded on how good our work is, not on how cheap it is. Mr. Perkins admitted that the procurement people came in like a bulldozer claiming expertise in buying stuff like chemicals and office supplies. But he said the more our partners work with procurement, the better off we are. Pick up the phone and call me if we do something stupid. Ms. Cochrane said for procurement to work weve got to get involved at the senior level. We can create a wonderful support system, but we cannot relegate it to a lower level. Mr. Robertson was more skeptical. He said there are two kinds of procurement. One is long term, knowledgeable and works with agencies to enhance efficiency through process improvements and so on. The other is hit and run. They come in, slash the fees and disappear, leaving the marketers and agencies to live with the consequences. Ms. Cochrane thought the industry should rename agency procurement Sourcing and Partnership Solutions as Allstate has already done. Theres a place for commodities, but theres also a place for service negotiations, she told me later. Eduardo Conrado, chief marketing officer-broadband mobility solutions at Motorola, contended that digital agencies should be the lead horse in handling assignments, but Mr. Porter said, I dont understand why there needs to be two separate places. Smart agencies with good ideas, he said, bring in the technical expertise. Digital, said Mr. Perkins, is a very bad word. I wish the word would disappear. We shouldnt even be talking about it. Mr. Conrado made the point that it was the client side that created silos, and we should break them down ourselves. On the subject of compensation, Mr. Perkins said agencies should have some skin in the game, so that some of their compensation is at risk. If we dont make our forecast, neither should the agency. Mr. Porter said agencies should have equity in their clients. The more the goals are aligned, the better the relationship is. How about mistakes? Mr. Perkins said his biggest was allowing the agency selection process to be democratic. He said he should never have abdicated the responsibility. J&J soon after had to pick another agency. Ms. Cochrane said that she had to choose between going to her grandmothers funeral and being with her family in downstate Illinois or leading a pitch. She chose the pitch, and her agency got the

business, but she has regretted her decision ever since. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 Walmart presses its shops for efficiencies; Bentonville behemoth seeks cost-containment proposals from agencies on its $2.4 billion business BYLINE: JACK NEFF AND RUPAL PAREKH; JNEFF@ADAGE.COM, RPAREKH@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 577 words

Walmart stores is seeking proposals from its agencies for operating and cost efficiencies that could include consolidating its advertising and marketing services accounts in the U.S. and globally, according to people familiar with the matter. The talks are preliminary and havent reached the stage of a formal review, these people say. One person close to the company expects the retailer-the largest in the world-to look into holdingcompany consolidation of agency assignments, with an eye toward improving services and lowering fees. Interpublic Group of Cos. and Publicis Groupe are the two main holding companies whose agencies handle work for the U.S. Walmart division, by far the biggest spender among the global advertisers

units. Shops under those companies that handle pieces of Walmarts U.S. advertising include Martin Agency and Publicis & Hal Riney for creative work; Saatchi & Saatchi X for shopper marketing; and MediaVest for media duties. WPP Group and Omnicom Group have public relations and market-research assignments for Walmart in the U.S. as well, as do independents such as Rockfish Interactive and Edelman, which handle digital and PR assignments respectively. Like other retailers, we constantly work with our agencies to further improve the effectiveness of our marketing communications, and this is especially true as we approach key holidays like Christmas, a Walmart spokesman said in an email. There are always rumors about our business and as a matter of policy, we dont comment on them. Separate from the discussions on other marketing services, people familiar with the matter said Walmart is considering consolidation of its U.S. consumer public-relations accounts, now split among Omnicom Groups Porter Novelli, Interpublics Golin Harris and WPPs Cohn & Wolfe. Globally, Walmart spent $2.4 billion on advertising in the year ended Jan. 30, the company reported. In the U.S., Walmart spent $1.1 billion in measured media, according to Kantar Media and $1.7 billion overall on advertising, per Advertising Age estimates last year. Opening the door to holding-company proposals raises the possibility of consolidating accounts globally in Walmarts increasingly far-flung operations, which includes operations in Latin America, China, Japan, the U.K. and India. While many large marketers were prompted by the economic crisis to trim the number of agencies on their rosters, Walmart up to now hasnt leveraged its scale as a global marketer to streamline its holding company or agency lineup, or to cut costs. That could change now, however, since Vice Chairman Eduardo Castro-Wright-who was president of Walmart U.S. when that unit chose current shops Martin, R/GA, MediaVest, Publicis and Saatchi X-focused his duties earlier this year on procurement and e-commerce. The discussions on reducing agency costs resembles, according to some familiar with Walmart, the companys approach to dealing with suppliers of merchandise in the stores. As such, it doesnt necessarily mean any current agency gets cut out of the loop, but it clearly puts a focus on providing the best service at the lowest cost. Walmart has in recent years streamlined some other areas of marketing services. Last year it consolidated in-store sampling and merchandising work that had been handled by several providers for Walmart and Sams Club with Shopper Events, a partnership between the brokerage firms Crossmark and Advantage. CONTRIBUTING: MICHAEL BUSH LOAD-DATE: October 28, 2010

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Advertising Age October 25, 2010 Zynga grows the one thing advertisers want: mass reach; Farmville creator has 250M people playing its games-and interacting with marketers ads BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 880 words

Zynga, the gaming giant behind time-sucking Facebook phenomena such as Farmville, Mafia Wars and Frontierville, is building a media giant out of tiny transactions from millions of people buying seeds, sheep, tractors, weapons, skill points and other virtual goods. The company has a tortured history with advertising, and-like Facebook-was once known for lowrent lead-generation ads such as the IQ test and Video Professor. But over the past year, the company has perfected a different kind of advertising that appeals to brands: ads that pay consumers for their attention. The network behind Zyngas ads-SVNetwork-started out as a company that marketed charitable causes through its website, Social Vibe. But over the course of the past year it has integrated that system into Zyngas stable of games which are operated as separate businesses, allowing marketers to buy engagement ads. All of those ads follow a pretty simple formula: ask a player if theyd like to earn some currency or points to do something like watch a movie trailer, play a game, quiz or some other brand-related activity, and then share it on Facebook.

The company, led by former music exec and CEO Jay Samit and founder and President Joe Marchese, has placed more than 100 campaigns in Zynga games over the past year for marketers such as Microsoft, Visa, Apple, Kia, MillerCoors, Macys and Discover. Zynga in the past year has also done major integrations with McDonalds, 7-Eleven and Cascadian Farms, some brokered through startup Appsavvy, but the volume is coming from ads through SVNetwork, which charges from $0.60 to $1.60 for each engagement. Ultimately, those will be priced through auction, so advertisers can bid on an engagement with, say, a mom age 25 to 34. We based our whole idea on one philosophy: Brand ads are only valuable when they have a consumers undivided attention. And the only way to do that is to get them to volunteer it, Mr. Marchese said. And people seem to be playing along. [The players] are more receptive to having an entertainment experience with brands; they are so much more compelled to take action, said Marty Collins, group marketing manager at Microsoft, who oversaw campaigns for Bing and the new Windows Phone on SVNetwork. Theres nothing new about rewarding people for engaging with ads. Usually the tradeoff is implicit, such as watching eight minutes of TV ads to get 22 minutes of programming. Online, Salon once tried the explicit approach, offering those who did not want to pay a subscription to watch an ad to get a Day Pass for content. Hulu does the same with its pre-roll selector before a show. Theoretically, any publisher or ad seller could concoct such a deal. The Wall Street Journal could lower its pay wall for people willing to watch an ad, for example. Whats making Zynga work well for brands is its sheer scale-theres no need to concoct an offer relevant to every audience or website. The nearly 250 million people playing Zynga games around the world each month pretty much want one thing: to get better at the game. If an advertiser can help improve [a players] performance, its more likely the consumer will take part, said Ian Schafer, CEO of digital agency Deep Focus, which placed the Bing campaign. So far, Zynga has been about growing scale in search of an ad model. According to its marketing documents, Zynga has 47 million players around the world each day and serves a billion daily ad impressions. Despite a deal with Yahoo earlier this year, and a bevy of mobile apps, nearly all Zynga game play occurs within Facebook, and almost 97% in the U.S., according to Nielsen. Nielsen Online says the companys games received 25 million unique visitors in September, up 34% from last year. Last spring, Cisco estimated players of Zyngas most popular game-Farmville-spent 68 minutes a day playing, on average. Mafia Wars players spent 52 minutes. Indeed the top four Facebook apps in time spent are all Zynga games. While the market for virtual goods is booming-worth perhaps $2.1 billion in 2011 according to Inside

Network, publisher of Inside Social Games-advertising is small, and forecast to stay that way. According to eMarketer, ads in social games are a $142 million market today, expected to grow to $192 million in 2011. Advertisers on Zynga through SVNetwork also buy the virtual goods that are given away-driving additional revenue beyond the cost-per-engagement revenue model. Zynga, in turn, is the largest advertiser on Facebook, according to multiple executives familiar with the social networks economics, buying ads to win over more converts to the games. Zynga said their ad plans are in flux and declined to comment. The model appears to be adaptable for a wide range of advertisers. Even a serious marketer like GE, for example, built two engagements, informational quizzes around the leading causes of disease or death, and how best to conserve energy. Through SVNetwork, Zynga is now doing business with a cross-section of major brand advertisers. And while theyre showing results that compare favorably with a standard banner clickthrough, the next question marketers have is why. Are consumers clicking because they want something or are they getting something memorable or valuable from the experience? LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 CORRECTIONS SECTION: Pg. 14 Vol. 81 LENGTH: 21 words

In the Marketer of the Year profile of Chick-fil-A (AA, Oct. 18), VP-Marketing David Salyers was misidentified as David Slater. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 IN HIGH DRAMA, DEMOCRAT ADMAN TAKES CENTER STAGE; J.J. Balaban has found himself in the middle of some of this election seasons most hotly contested races BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 682 words

Thirty-six-year-old adman J.J. Balaban has been at the center of some of this election seasons most heated battles. Earlier this year, Mr. Balaban, who is part of the venerable Democrat shop Campaign Group, put together one of the most successful TV spots of the primary round when he helped Joe Sestak defeat incumbent Arlen Specter for the nomination for his Pennsylvania Senate seat, a surprising victory. Since that win, Mr. Sestak has been locked in an even more tense fight against Republican opponent Pat Toomey, a contest pollsters have effectively called a tossup as late as two weeks before election day. But thats not all.

Mr. Balaban has also been fighting the attention game against one of the most closely watched candidates this season: Tea Party star Christine ODonnell. Mr. Balaban has been tasked with directing notice toward her Democrat opponent Christopher Coons (who?), even though hes leading in the polls. Lets just say its been pretty crazy, he told Ad Age recently. But every campaign at this point is hot and heated. About Mr. Coons, Mr. Balaban said that though he doesnt have the national profile of Ms. ODonnell, the candidate has worked to build a strong base of supporters over a long period of time, whereas Ms. ODonnell has in some ways been more of a top-down creation. Part of the reason why Chris is leading is because hes been out in the vineyards working for a number of years building a record, he said. Some have said that Chris advertising has focused more on Delaware, and her ads have focused more on herself. It is a fact that also defines Mr. Balabans overarching strategy. He really takes the time to get to understand your district and your audience, said Derek Kilmer, a state senator in Washington. I think a lot of the stuff you see on TV, it almost feels cookie-cutter. Thats not true of the work J.J. does. He takes the time to understand the candidate. He understands how an ad plays in Pennsylvania has to be different from how an ad plays in Washington state. As an example, Mr. Kilmer said that his district in suburban Tacoma has a large population of military families. J.J. took time to understand that, he said. Hes just very thoughtful, and hes got a demeanor that removes stress and carbonation from a highly carbonated process. The two first met as friends at Princeton, where Mr. Balaban was in the Woodrow Wilson School, a curriculum focused on public policy that stands as Princetons only selective major-known within campus circles as the brains of the brains. Mr. Balaban was also a member of Tower, an eating club known for taking in Wilson School students as well as those keen on theater. I was a total Tower stereotype, he said of his interests. As for theater, he said he had wanted to be on stage since high school but, it turned out I had absolutely no talent whatsoever. I quickly realized that was a dead end. Mr. Balaban, who has always gone by J.J., (stands for Jack Jeffrey), settled for being a stagehand. I still really enjoyed myself, he said. After college, he went to Washington and worked as a press secretary on Capitol Hill as well as working on various campaigns until he joined the Campaign Group in 2002. Every region has its political machines and longstanding power brokers, and in Pennsylvania democratic politics, Campaign Group is the closest institution to party anointment. It can be a great branding event to get Campaign Group to be your media buyer, said Rob McCord, Pennsylvania State Treasurer, who is also a friend of Mr. Balaban. When I was first running, a lot of people thought, Oh, this is a comfortable-living business guy, hes not going to stay in and do what it takes to win. But J.J. courted me to the Campaign Group. That was important to getting that credibility.

Mr. McCord said what he liked about Mr. Balabans approach is that he doesnt yield to simple emotional impulses. He looks for data and differentiating ideas-hes remarkably effective. But at just the right time hell blend in his wry sense of humor. He can lighten the situation. LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 25, 2010 PEOPLE ON THE MOVE SECTION: Pg. 17 Vol. 81 LENGTH: 574 words

Julian Porras has been appointed CEO of Omnicom Media Group Latin America. He will be based in the Miami office and begin his new role Nov. 1. Mr. Porras comes to OMG after 14 years at StarcomMediaVest, where he led regional new business, operations and multinational client service for Latin America. He has previously worked with advertisers such as McDonalds, Visa, CocaCola, Kelloggs, Kraft, P&G and Samsung. The Weather Channel Companies tapped Megan Rock as VP-partnership marketing and operations and Brittany Smith as VP-national accounts. Ms. Rock joins TWCC from Discovery Communications, where she served as VP-domestic distribution. She has also worked as a business consultant and in various sales and marketing positions for Turner Broadcasting, Fox Family Channel, Discovery Communications and CAMA (Comcast Spotlight). Ms. Smith was most recently VP-client service at Javelin Direct. Prior to that, she served as head of content acquisition for Virgin Media Television and as an affiliate sales executive for ESPN Classic Sport Ltd. in London. Both Ms. Rock and Ms.

Smith will work out of TWCCs Atlanta headquarters. Alexandra Lippin has been promoted from VP to senior VP of The Lippin Group. She will continue to oversee entertainment events and fashion and lifestyle-communications PR campaigns, representing U.S. clients such as actor Greg Grunberg, mobile-couponing app Yowza and lifestyle and fashion brands such as Jennifer Fisher Jewelry and Wyler Designs. Ms. Lippin co-heads a division of The Lippin Group called Brand2Hollywood, which merges branded product, entertainment industry events and the media to develop creative campaigns. She also works on special events including the Peoples Choice Awards, NAACP Image Awards and ALMA Awards. Gustavo de Mello has joined DDB Chicago in the new position of senior VP-group strategy director in charge of the State Farm account. Prior to joining DDB, Mr. de Mello was senior VP-director of strategic planning at Lapiz, the Hispanic marketing division of Leo Burnett. At Lapiz, he was lead strategist on six Procter & Gamble brands, Allstate, BlackBerry, GM and several other blue-chip accounts. Under his leadership, Lapiz won more Effies than any other Hispanic agency in the U.S. Rainbow Media has promoted Danielle Pantages-Baker to VP-ad sales for the western region, overseeing national sales accounts for AMC, WEtv and Wedding Central within the regions 13-state territory. Ms. Pantages-Baker joined Rainbow in 2007 as an account executive. Prior to joining the company, she was a senior account executive with Scripps Networks western region, where she sold and negotiated national commercial time for HGTV, DIY, Great American Country, Scripps Custom Programming, Shop At Home, HGTV Pro and Scripps Online properties. Her 15 years in the industry also include sales positions at Discovery Communications, Fox Family Channel and Western International Media. ION Media Networks has named Yoav Shahar VP-West Coast network sales. Mr. Shahar comes to ION with more than 15 years experience in cable sales both in New York and Los Angeles. He most recently served as an account executive with Turner for eight years, specifically representing TBS and TNT and its sports and entertainment properties. He has also represented networks and brands including Warner Bros., Sony Pictures, Nike, T-Mobile and Microsoft. Submit people moves to Anna Baskin at abaskin@adage.com LOAD-DATE: October 28, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 NOTEBOOK: KRUGMAN A DOWNER, FEW PRACTICING WHAT THEY TWEET BYLINE: JUDANN POLLACK AND JACK NEFF; jpollack@adage.com, jneff@adage.com SECTION: Pg. 22 Vol. 81 LENGTH: 579 words

The Dire State of the Economy might have been the theme of economist Paul Krugmans talk to the Association of National Advertisers annual meeting but youd hardly know it from the atmosphere in the hallways of the bustling Rosen Shingle Creek Resort, where 1,600 attendees-a record numberwere gathered. The place was so packed that overflow hotel accommodations were arranged and there were long waiting lists for canceled rooms. At Thursdays lunch, the ballroom was so crowded that additional tables had to be rolled in by hotel staffers as executives from the lunchs sponsor, NBC Universal, conducted a panel discussion. Guests were invited to the lunch via a handwritten note from NBC President Jeff Zucker, left in their room accompanied by chocolates. Mr. Zucker even showed up (figuratively) in guests bathrooms, with a hang-tag over the shower head in each room reading, Do your best ideas happen here? Swag was almost everywhere, including a bathrobe that looked very much like the one offered by the Shingle Creek for $75, left in gift bags in attendees rooms courtesy of AOL. Clear Channel regaled attendees with a private Goo Goo Dolls concert and AETN brought in LeAnn Rimes to perform. Likely a sign of that dire Krugman economy, hoards of sponsors, vendors, media and agency attendees were here, hoping to hook up some new business with companies that collectively spend $250 billion in marketing. But at times it seemed heavy-handed. Coca-Cola Chief Marketing and Commercial Officer Joe Tripodi joked that his presentation was coming in between that lunch with Jeff Zucker you got that private note for. And several attendees felt the panel discussion was a lightly disguised sales pitch. Think of all the expense of jet fuel to bring this high-powered group here, said one conference-goer who was himself from a media company. The group included Mike Pilot, presidentNBCU sales and marketing; Bonnie Hammer, president-NBCU Cable Entertainment, Jason Kilar, CEO of Hulu, and Lauren Zalaznick, president-NBCU Women. Asked about the Krugman talk-which Cindy Gallop, founder of IfWeRanTheWorld, remarked was incredibly depressing,-ANA President-CEO Bob Liodice said, Even though our focus is on

growth, we still have to be attentive to the economic reality we have today. You cant turn your back on that you have to create programs to adapt to that. He did, however, note that the conference results seemed to run counter to the economic outlook. The strong mix of marketers and the marketers perspective differentiate the ANA from other conferences, he said, plus, another factor that draws crowds is the focus on results rather than just interesting creative. And having a lot of marketers, of course, attracts vendors-lots of them. As might be expected, much of the discussion was about interactivity, with podium talk dominated by case study after case study of campaigns using Facebook, Twitter and the like. And the ANA tried to walk the walk by polling the audience via text message, having a roaming videographer asking attendees to do things such as sing a favorite ad jingle, and creating a Twitter handle, #ANAMarketers. But at times it seemed as if there werent that many marketers practicing what they preached. Most of the Twitter traffic at that handle was from media and agency-side attendees. In fact, Ms. Gallop retweeted a comment from @Hillary_Ashton: Why dont more CMOs have a Twitter handle? CONTRIBUTING: E.J. SCHULTZ LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 MARKETER OF THE DECADE; From the iPod to the iPad, the perennial Marketer of the Year candidate made its mark with a must-have gadget at every point of the decade, influencing business models across all media and creating an exceptionally brand-loyal consumer base BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM

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APPLE You think you have Apple fatigue. Apple has won Ad Ages Marketer of the Year title only once in the past decade, but it has been named runner-up several times and has been a contender almost every year in our heated behind-the-scenes discussions of who should next wear the marketing mantle. This year was no different. Some staffers were passionate about Apples inclusion, while others expressed weariness over its perennial powerhouse status. In the end, we all agreed that Apple deserved consideration for several reasons: the launch of both the iPad tablet and the iAd mobile ad platforms (and the industry impact both have had); the continued thriving sales and solid marketing behind Mac, iPhone and iPod; the successful retail-stores-as-marketing strategy; and the major crisismanagement coup in skirting iPhone 4 Antennagate. Frankly, because this seems to happen every year, we decided to take Apple out of the running for Marketer of the Year and instead crown the tech whiz as Ad Ages first Marketer of the Decade. It seems fitting: Apple kicked off the aughts in 2001 with the iPod, an electronic device that went on to disrupt and forever change the music industry; then mid-decade it dropped the iPhone, a mobile device that changed the mobile-phone industry and added the word apps to the English vocabulary; and finally, in 2010 it debuted the iPad, a computing device with the potential to disrupt the media, publishing, entertainment and computing industries. Yes, it has been a golden decade for Apple. And while one can certainly argue that its influence has been overstated-it is No. 56 on the list of Fortune 500 by revenue-Apples influence on business models across industries from music and computing to entertainment and advertising, along with its impact on popular culture, media and, of course, marketing, has been indelible. PRODUCT AS MARKETING Its almost hard to believe the iPod is only of this decade, with now more than 250 million of them sold, and digital music sales playing the norm. The iPhone, with more than 50 million sold, has launched a consumer-smartphone rush. While it may never grab the kind of market share in wireless that the iPod has in music, it has been a pioneer and leader with the App Store, strongly influencing mobile advertising and portable gaming. In the latter category alone, Apple owned a 19% share of the portable-gaming software revenue at the end of 2009, up from 5% in 2008. The iPad, meanwhile, with as many as 8 million already sold, by some estimates, has spurred a touch-tablet tempest in the industry with almost every major PC and phone maker adding it to their product portfolios. And this is an industry that has been touting tablets for years. Apples involvement got them moving. Tablets are now expected to be a $17 billion business by 2014, according to

researcher IDC. Other estimates have come in lower, but either way, its a big jump from the one million or so units that were sold annually before the introduction of the iPad. Even the Mac enjoyed resurgence this decade, in part because of the halo effect of the iPod, in part because of the addition of Intel processors in 2006, and in part due to aggressive marketing via both the Switch and Get a Mac series of ads that ran from 2002 through 2009. Apple computers now have about a 7% U.S. market share, up from around 2% early in the decade. ADVERTISING Apples TV spots from the past decade are like a hit parade of the most memorable ads. Who can forget the dancing silhouettes with white iPods and earbuds against hue-popping backgrounds, or the Mac vs. PC, dork vs. hipster sly hilarity, or even the utilitarian talk-touch-and-swipe-to-get-it-alldone spots for the iPhone? However, Apple ads had other influences on advertising. The introduction of the white background in the Switch Mac ads in 2002 was the beginning of an aesthetic not only for Apple, but for many imitators as well. The iPad, in particular, is having some major advertising-industry impact. The iPads design alone has influenced all of display advertising, while Apples iAd platform supercharged the mobile-ad industry just by its mere announcement. AGENCY RELATIONSHIPS Apple and its agency, Omnicom Groups TBWA, make a great case study on the benefits of long-term agency-client relationships. The two have been together since the iconic 1984 Super Bowl spot, although the agency was off the account from 1986 until 1997, which is almost identical to the years CEO Steve Jobs was absent from Apple (1985-1997). So maybe it is the relationship between Mr. Jobs and longtime TBWA creative chief Lee Clow (who is now chairman and global director of Media Arts Lab and chief creative of the TBWA network) that is the key to the magic, and the long string of well-regarded marketing campaigns. Whatever it is, it works. In 2006, TBWA created Media Arts Lab to specifically serve Apple as a new type of ad agency that creates culture, not just commercials. BRAND LOYALTY Sure, its called the Cult of Apple for a reason, but we guarantee any marketer would kill for that kind of loyalty-for all its innovative gadgets and gizmos, its Apples greatest asset. There are certainly the over-the-top fanboys (and girls), but even less dedicated customers seem to have a blind spot for Apple. Recall the media flare-up after reports began surfacing that because of the way the iPhones antenna is configured, calls were dropped when it was gripped a certain way. Apple initially addressed the so-called Antennagate complaints with e-mails that advised, basically, to not hold the phone that way. But amid mounting complaints a few weeks after the phones debut, Mr. Jobs held a press conference

to announce Apple would give out bumpers to iPhone 4 buyers to fix the problem. But not before he pointed out that all smartphones have weak spots. This is not unique to the iPhone 4, and even showed how three other competitors phones-BlackBerry, HTC and Samsung-also dropped bars when held a certain way. BlackBerrys parent company, Research in Motion, fired back the next day: Apples claims about RIM products appear to be deliberate attempts to distort the publics understanding of an antennadesign issue and to deflect attention from Apples difficult situation. Yet any indignation at Apples product gaffe and less-than-humble apology was generally ignored-or even derided. Tech website Gizmodo took a lot of shots for trying to rally customers to force Apple to come up with a solution. RETAIL Apple retail stores have come to define the high-end, low-key, over-the-top customer-service shopping experience of the later part of this decade. And while Apple intends for all of its 273 stores to sell its wares, it also is deliberate in its use of them as marketing tools. Eleven of the stores in particular are meant to act as brand ambassadors. According to Apple filings, those stores have been designed and built to serve as high-profile venues to promote brand awareness and serve as vehicles for corporate sales and marketing activities. And they specifically budget expenses for those stores, to the tune of $65 million in 2009. Compare that to its overall $501 million spent in worldwide advertising in 2009, and the tally is for every $8 Apple spent on ads, they spent $1 on those 11 signature stores. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010

With Bogusky gone, CPB creatives hightail it back to South Beach; Boulder office sees exodus after many staffers moved there to be with the agencys top mentor BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 526 words

Back in 2006, when Miami native Alex Bogusky had enough of the beach and palm trees and decided hed rather work and raise children out West, he offered to go it alone. But some 40 staffers decamped with him, leaving the original office of Crispin Porter & Bogusky to set up a hub in Boulder. Others followed, and by the beginning of 2010, the Boulder office had swelled to almost 600 people. Staffers desire to be closer to the shops former top creative when he moved west speaks volumes about the sort of influence Mr. Bogusky wielded at the agency. And so does whats happening now. With Mr. Bogusky gone, many creatives at the MDC Partners-owned shop are making the same decision LeBron did: Theyre taking their talents (back) to South Beach. From day one, we said you can live where you want, said Chuck Porter, chief strategist at MDC and chairman of CPB. But there was a big move to Boulder particularly in the creative department. A lot of people wanted to be with Alex. He was a good mentor. And Alex encouraged people to move to Boulder, and a lot of people listened to that and felt like, Wow, this is something I should do. He admits that in the meantime, the Miami office, from a creative standpoint, had atrophied. That was clear when Ari Merkin rejoined CPB as VP-exec creative director this past spring, only to discover that for the 250 employees still in the Miami office, just a fraction-about 10-were creatives. He went on a recruiting spree, making a dozen senior hires, including award-winners such as Liem Nyguen from Lowe Bangkok and Robert Kleman from BBDO, New York. In July, the Miami office brought aboard Gerard Caputo, who previously worked at Omnicom shops and netted an Emmy award for his 2008 FedEx Super Bowl spot, Pigeons. More folks are on the way. According to CPB insiders, another 15 staffers have already announced plans to relocate to Miami, and with them will go creative duties for key accounts like Coke Zero. Everyone here in Miami is rooting for the creative department, and for them its just nice to have creative back in the building, said Mr. Merkin, whos been spending time on clients like Cuervo and Kraft, pitching new business and, importantly, getting the word out that Miami is a place to come and work again. Andrew Keller, co-chief creative officer based in Boulder, said, All four of us were here, referring to Mr. Bogusky, and top creatives Rob Reilly and Jeff Benjamin. People want to have that moment

where you walk into someones office and you have that connection, he said. We needed to put a real creative leader [in Miami] so they felt connected there and not disconnected from us. Mr. Keller-along with Mr. Reilly and Mr. Benjamin-plan on staying in Boulder. Asked what he thinks is different in the post-Bogusky era, Mr. Keller said: Weve felt like a oneoffice shop with a bit of a bottleneck theres more opportunity for people, were more prolific in terms of the amount were able to do and theres real empowerment happening in terms of executive creative directors and group creative directors. He added: I dont think the vibe at the agency has ever been better. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 MARKETER OF THE YEAR; RUNNER-UP BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 19 Vol. 81 LENGTH: 621 words

DOMINOS Through the help of a bold ad campaign that saw the pizza chain join its harshest critics in demanding a better product-and delivering it-marketer sees its gutsy move pay off as foes become fans and store

profits reach an all-time industry mark I seriously hated Dominos in the past, wrote Kris Johnson on the pizza chains Facebook page. Only had it a couple times and it made my stomach upset and it was average at best. I recently moved and tried Dominos again since theres not much for delivery where I moved to. We are totally turned around by the taste! We have ordered again since 2 more times and plan to order a lot more in the future. Way to turn things around Dominos, keep up the fantastic work!!! The ability to persuade folks like the Facebook commenter to make the leap from non-fan to repeat customer is precisely what Dominos was banking on in December 2009 when it launched one of the boldest ad campaigns the restaurant industry has seen in years. Dominos stopped centering its ads solely on recessionary messaging, such as two-for-one pizza deals, and passed the mic to its harshest critics-and permitted them to publicly condemn the taste of its core product. Then the chain took it one step further and sided with the haters. Dominos admitted in its ads that its pizza was gross. And it threw out its 49-year-old recipe, which had been compared to cardboard and ketchup, and replaced it with a reformulated sauce, new blend of cheese and a garlic-seasoned crust. Many observers balked at the approach-with some even predicting the campaign would be brand suicide. But historic double-digit lifts in same-store sales later, the lesson for all marketers is that its OK to acknowledge when somethings broke so that you can assure consumers youll fix it. Two months into the turnaround campaign, validation came in the form of a taste test that saw Dominos edge out the competition. Nearly 1,800 random pizza consumers from eight U.S. markets did a blind test, and in head-to-head comparisons participants selected Dominos pizzas as tasting better than both Papa Johns and Pizza Hut by a wide margin. It didnt stop there. Rather than serve up the recipe change as a onetime stunt, the effort spearheaded a new platform of transparency for the brand. Under Chief Marketing Officer Russell Weiner and lead creative agency Crispin Porter & Bogusky, Dominos has rolled out a host of efforts under the transparency banner. Dominos promised that all national advertising would feature pizzas actually made by its employees and vowed to never artificially manipulate pizzas when photographing them. In the wake of the makeover campaign, Dominos posted a 14.3% same-store-sales gain-a record for the fast-food industry, beating the highest-ever gain by McDonalds of 14.2%. And in the most-recent quarter, the chain, which opened its 9,000th store worldwide in March, saw revenue increase 14.5%, and quarterly profit was up a whopping 55.7% to $22.6 million. The majority of Dominos marketing efforts this year hasnt spoken at consumers, it has involved them. With Taste Bud Bounty Hunter, consumers nominated people they know who havent tried Dominos new pizza, and those who converted the most taste buds won a year of free pizza. In the Show Us Your Pizza effort, consumers could send in photos of real Dominos pies they ordered for possible use in a national ad campaign. Winners received $500. That every major media outlet, blogs and TV personalities have paid attention to Dominos tactics

hasnt hurt either. After all, who wouldnt want to have Stephen Colbert taste-test their product on his show, only to say: Is that pizza, or did an angel just give birth in my mouth? LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 WHAT GAP LEARNED THE HARD WAY: YOU DONT OWN THE BRAND SECTION: Pg. 20 Vol. 81 LENGTH: 329 words

For years now its been a marketing maxim that a brands consumers, not marketers, own the brand. Turns out consumers now think so, too. Recently Gap found that out the hard way. The retailers ill-fated new logo was the story of last week as it decided to ditch the derided revamped design and return to the classic blue box with the serif Gap font. While the Helvetica font in the new-now-scrapped logo has been described on Creativity as bland as grilled chicken without salt and pepper and like combining a bunch of zombie elements, the bigger problem was in Gaps handling of the rollout-and reaction to the backlash. Gap should have been more considerate in not only choosing its redesign but also launching it. While only 17% of consumers had seen or heard of it, according to a survey of 1,000 consumers conducted by Ipsos Observer on behalf of Ad Age, more than half of consumers say they expect to be consulted when a brand revamps its identity. And academic research from West Virginia Universitys Michael F. Walsh suggests that its often a brands most committed customers who have the biggest problem

adjusting to a brands logo revamp, suggesting they should be engaged in the rollout-not surprised when it suddenly appears on the website. And Gap should have treaded more carefully once the criticism ensued. The retailer posted a message on its Facebook page addressing the critics and saying that in light of the response to its new logo it will be conducting a crowdsourcing project. That only enraged the design community, which saw it as a cheap ploy to get spec work for free. As Noemi Pollack, of the Pollack PR Group in Los Angeles, wrote on AdAge.com: Here are my two cents: Decide to be inclusive or not before a new logo is designed and then, accordingly, put systems into place where customers can offer input before a rollout-not after the fact, as Gap did. Logos are important symbols for many brands, and Gaps was nothing if not iconic. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Walmart first to market with new hair-care innovation, ahead of Frieda; Retailer imports Fat Foam from Japan for exclusive U.S. launch, serving as global technology conduit and beating national brands to the shelves BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 792 words

As retail brands chip away at packaged-goods share, branded players can at least claim innovation as

their domain. But now retail powerhouse Walmart has done some innovating of its own, with Fat Foam, a no-drip hair color product based on technology the retailer tracked down in Japan and launched in the U.S. more than six months ahead of national brand competitors. Fat Foam, created and marketed by hair-care marketer Samy and sold exclusively through Walmart, came to market last month-well ahead of John Frieda Precision Foam Color, a similar product from Japans Kao Brands thats expected to launch in the U.S. in April. Innovation starting in Japan and coming to the U.S. is nothing new, of course. Procter & Gamble Co.s first Swiffer mop in 1999 was similar to a product Kao launched in Japan years earlier. But a retailer serving as conduit for the global technology transfer, beating national brands to the punch, is rare-and a potentially sobering sign for packaged-goods players. Michael Smith, senior buyer for hair care and hair color at Walmart, said the retailer became aware of the technology in Japan. He had just come into the business last year when he was searching hair color and came across a YouTube video from Japan where the customer is having a very different experience from what we have in the U.S. in hair color, which is not a positive one. The foam technology lets women put the color in and then go about their day, he said, without having to worry about it dripping on the floor and staining clothes and furniture. The company behind the product was Hoyu Co., which worked with Walmart Stores Seiyu division in Japan. In 2008, in another sign of increasing globalization, Hoyu bought Samy, a masstige haircare brand founded by Hispanic salon stylist Samuel Suarez in Miami more than a decade ago. Samy planned a 2012 launch of Hoyus foam hair color in the U.S., but Mr. Smith persuaded the company to launch it instead this September exclusively at Walmart for the first six months. We wanted to bring that forward and use our scale and our marketing muscle and everything to bring it early to the U.S., he said. Subsequently, Kao announced plans to bring its foam hair color product to the U.S. in April following a launch next month in the U.K. and previous distribution in Japan and Singapore. Fat Foam isnt a conventional private label inasmuch as Samy eventually will make it available to other retailers next year. But its a particularly gutsy move for a retailer to lead product innovation with a new brand in hair color, a category thats never had significant private label in the past, said global beauty consultant Colin Hession. Because of the high risk of failure, hair color is one of the categories with the highest consumer resistance to trying private label or new brands, he said. Hoyu produced TV ads to back the launch, and Walmart, via the Martin Agency, Richmond, Va., among others, has backed it with testimonial/demonstration videos from the retailers ElevenMoms network of women bloggers-all or parts of which are shown on YouTube, on the order page on Walmart.com, in store at endcap displays on the Walmart Smart Network and in rich video digital display ads on the web.

Early results for Fat Foam look positive, according to Carmen Bauza, VP-beauty and personal care for Walmart, who said sales were three times faster than expected in early weeks. This is the beginning of the path were taking to continue to bring to market unique opportunities for our customers, Ms. Bauza said. In my opinion, it exemplifies Walmarts willingness and eagerness to partner with all suppliers, even smaller suppliers, to bring our customers true innovation thats exclusive to us for a certain period of time, said Colleen Sheedy, marketing manager for beauty and personal care at Walmart. Besides collaborating on the retail execution, Walmart also collaborated with Hoyu on developing the marketing, using many of its own programs, such as ElevenMoms and the Smart Network. Online reviews so far, both from bloggers affiliated with Walmart and from others, have been overwhelmingly positive. Still, neither Fat Foam nor John Frieda may be much of an immediate threat to market leaders LOral and P&G, Mr. Hession said, though theyll likely need to respond if the products catch on long term. The fact that two Japanese companies already have the technology suggests it may not be hard for others to replicate. The bigger threat may be Walmart flexing its muscle as an increasingly aggressive and sophisticated developer of beauty brands. Fat Foam follows Hard Candy, a cosmetics brand formerly sold in prestige outlets such as Sephora, which was converted to a Walmart exclusive brand last year. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 FILLING IN THE GAP OF A REBRANDING DISASTER; How retailer went from safe territory to

danger zone in quest for change BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 590 words

Now you see it, now you dont. The new Gap logo was around for just one week, but now the question is: What was management thinking? How could this happen? Blame pressure to perform after years of painfully sluggish sales and a desire to signal a new, fresher Gap, which resulted in a remarkably hasty rollout. Executives close to the company told Ad Age that Gap President Marka Hansen championed the new logo and the idea of a soft launch against the wishes of the marketing team. Bill Chandler, a spokesman for Gap, denies that was the case, saying, To say that any one person made the decision would be inaccurate. It was a group decision. Others blame Laird + Partners, which designed the new logo as part of their assignment to handle this years holiday campaign, but in fact Gap had a shootout among three shops for the assignment and all proposed new logos, according to Mr. Chandler. Laird had a number of [logo] options that were presented and discussed. The senior team reacted positively to the idea of evolving the logo, Mr. Chandler said. Ultimately, its something that Marka talked about with Glenn Murphy, our CEO, he added. In the end, Marka and Glenn have both taken accountability and have said this was an instance of one change too many. Gap has changed its product mix, merchandising and store design in hopes of boosting sales and attracting customers. Annual sales at stores open at least a year havent been positive since 2004. And same-store sales have been negative for the last six months, falling 1% in September. Mr. Murphy has also put pressure on the companys brands, including Gap, to improve topline sales, said Mr. Chandler. Gap Inc.s other retail brands are Banana Republic, Old Navy, Piperlime and Athleta. Theres a well-intentioned desire to signal change, Mr. Chandler said. But we recognize that changing the logo in this way was one change too many and executed too fast. Asked why Gap handled the rollout the way it did, Louise Callagy, a Gap spokeswoman, told Ad Age on Oct. 7 that rolling it out on Facebook was in line with millennials, the target market. Gap executives, however, appeared to have doubts about their new logo just two days after its online

debut. After an initial spate of negative comments, on Oct. 6 a message appeared on Gaps Facebook page acknowledging the debate and asking for consumer input on the designs: Stay tuned for details in the next few days on this crowd sourcing project, it read. But the crowdsourcing idea triggered a spate of backlash among the design community, who saw it as a play for free logo ideas. Mr. Chandler said that a small team of senior executives worked through the weekend, monitoring talk about the brand and its plans to crowdsource a new logo. It quickly determined that it should return to the original logo and that decision was announced internally Oct. 11, as first reported by Ad Age. The silver lining of the whole ordeal? It was a cheap mistake, money-wise. Unlike PepsiCos 2009 Tropicana rebranding disaster, which was rolled out on millions of orange juice cartons across the countrys grocery aisles, Gaps new logo was quickly swapped out in its upcoming holiday campaign before any holiday collateral was printed. Mr. Chandler called expenses associated with the rollout and subsequent killing of the logo minimal, almost inconsequential. And while Ms. Hansen briefly addressed the logo at Gap Inc.s annual investor day on Oct. 14, no investors asked questions about it. CONTRIBUTING: ANDREW HAMPP AND RUPAL PAREKH LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Mad Men offers lesson in agency branding; What shops struggling to tell their own stories can learn from year one of Sterling Cooper Draper Pryce BYLINE: MATTHEW CREAMER

SECTION: Pg. 26 Vol. 81 LENGTH: 626 words

The fourth season of Mad Men is about, among other things, a company finding its own story as it wrestles with what it is and what it must become. It began with the ever-stoic Don Draper being pushed into PR opportunities by the other partners hungry for publicity around their star creative and, they hope, new-business magnet for their fledgling agency. And, as the season drew to a close, Don made a big, amoral bet that, having lost longtime cash cow Lucky Strike, his Sterling Cooper Draper Pryce could, overnight, become the anti-tobacco agency on Madison Avenue. This story arc has a lot to say about advertising, much of it not very positive. Whatever happens, that challenge of creating a unique brand for the agency that Don wrestles with only a bit less than he wrestles with the whiskey is something agencies still wrestle with, 45 years later. In Drapers day, there werent many ways for an upstart to get its message out there. There was, of course, PR. There was word-of-mouth, gossip and judgments passed along at bars and restaurants and award shows. There was the work and awards. And there were the clients. In the Mad Men universe, SCDP is the Lucky Strike agency-or, it was, until that account was gone in a puff. These days, an agency is both blessed and cursed by what feels like an endless array of communications channels into which it can insert its brand. Theres all that older stuff, plus corporate websites, blogs and, sexiest of all these days, social-media channels like Twitter and Facebook. The practice of telling an agencys story has become an always-on, 24-7 process that stacks up next to all those other always-on, 24-7 processes that are also pretty important-like servicing clients But aside from finding the time required to do this volume of work, this should be easy for companies that are in the business of telling brand stories, right? I can tell you after perusing many an agency website that looks like it was designed in 2002, sifting submissions for Ad Ages annual A-List that cant identify measurable results for clients and hearing jargon-laden rebranding ideas, fewer than youd think have figured it out. Some let their work for clients do the talking. Few take stands, despite the fact that theres no shortage of issues to rally for or against: diversity, agency compensation, ownership of ideas. And social media hasnt made it any better. Too often, Twitter accounts devolve into idle patter about not much of anything other than using social media. As for the offenders, you know who you are-I think. All this has made the agency landscape feel too flat and featureless, and that is exacerbating the commoditization of the business-something that would be coming one way or another, thanks to the demise of the 15% commission and the rise of procurement. If agencies dont stand out, then what do prospective clients have to judge them on but for how much or little theyre willing to charge to handle an account? In Drapers day, that commoditization was just beginning. Sure, margins were fat and the work was less complicated, attested to by the fact that coming up with a tobacco slogan like Its Toasted was regarded as a creative achievement. But the shift of Lucky Strike to BBDO was a harbinger, it coming

as part of a consolidation that would see both the fee and a long relationship with Roger Sterlings family slashed. Even in those days, forging an agency brand independent of the biggest client, one that actually reflects the values, sensibility and mission of its leaders, wasnt any less important. That simple realization, not its outcome-Drapers overreaching New York Times ad, so harebrained, hypocritical and shortsighted-is the great ad-business lesson of this season. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 WANT TO KNOW WHAT WAS SHAKING UP THE REAL MAD MEN IN 1965? BYLINE: THOMAS PARDEE AND BRADLEY JOHNSON SECTION: Pg. 26 Vol. 81 LENGTH: 406 words

We took a look in the Ad Age archives to give you the biggest news on Mad Ave back in the day TOBACCO WARNINGS While Mad Men protagonist Don Draper is fictional, his struggle to create successful advertising for cigarettes amid mounting proof of health risks was a very real one for creatives in 1965. After the surgeon general released a damning report in 1964 confirming that smoking may be hazardous to your health, the Federal Cigarette Labeling and Advertising Act was passed in 1965, requiring all cigarette labels to contain conspicuous and legible warnings for consumers. Though there was

squabbling among politicians and ad men at the time, many cigarette advertisers saw the law as one they could live with. More legislation restricting cigarette marketing would pass in subsequent years, like the Public Health Cigarette Smoking Act of 1969, which required warnings on all print advertising. GOING PUBLIC Grey Advertising joined the Mad Ave rush to go public in August 1965, following the initial public offerings of Papert, Koenig, Lois (1962); Foote, Cone & Belding (1963); and Doyle Dane Bernbach (1964). Others would follow, including J. Walter Thompson (1969) and Interpublic Group (1971). Papert Koenig was only the second U.S. ad agency to go public, after Albert Frank-Guenther Law in 1929. Albert Frank now operates as The Gate, owned by the U.K.s Media Square. Papert Koenig closed in 1969. FCB is part of Interpublics DraftFCB; DDB is owned by Omnicom; WPP bought JWT. And Grey? Grey turned into green when WPP acquired the firm in 2005 for $1,154 a share in cash and WPP stock-118 times Greys split-adjusted IPO price. COLOR TV Though color TV was around for decades prior to 1965, it didnt reach critical mass as an essential for advertisers until that fall, when the big three TV networks made the full push into mostly color or (in the case of NBC) all-color programming. Ad Age covered the color revolution (which shares parallels with the growing popularity of HD programming today) in a Special Color Section released in November. It featured stories about pressure on advertisers to take the leap into color, new camera technology, notable color spots and production tips on color-shooting dos and donts. One piece, by reporter Maurine Christopher, attributed CBS reluctance to make the sweeping shift to color programming up until then to hard-headed business reasoning and emotional petulance. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Why do so many new-media startups ultimately commit suicide? BYLINE: SIMON DUMENCO SECTION: Pg. 20 Vol. 81 LENGTH: 714 words

Its become accepted wisdom that many old-media companies are doomed; theyre led by, the thinking goes, out-of-touch numbskulls. They exhibit incompetence and/or lethargy of such Darwinian proportions that they simply deserve to die. Its a useful conceit that makes for a compelling narrative, because everybody loves it when Goliaths get felled (well, except for Goliath Co. shareholders), especially by scrappy young Davids. But wait a second! A lot of old-media companies may be wounded, but theyre far from down for the count (and, in fact, a good number of them are rapidly becoming hybrid old-new media companies-and have been resurgent in 2010 as the advertising economy rebounds). Whereas new-media companies? Over the years, a lot of their briefly triumphant Davids are now effectively dead and buried. Consider the social-media sphere, so gloriously mythologized (once again) in Aaron Sorkins The Social Network (even if it does make Mark Zuckerberg seem like a dick). The movie passingly name-checks two forebears-Friendster and MySpace-but fails to note that they, too (especially MySpace), once seemed like The Inevitable Future. In fact, theres a sad string of previous social/community sites, from TheGlobe.com to Geocities to Tripod, that each got to sort of rule the world for a minute. And yet-speaking of clueless, out-of-touch numbskulls-they all cratered thanks, in large part, to the self-destructive, user-alienating impulses of their leadership. So lets compare the number of old-media corpses to the number of new-media corpses that litter the landscape. Now tell me: Who, collectively, has more of a death wish? Ive been thinking about the typical new-media life cycle a lot lately because of the travails of Digg, the social news site that famously inspired an absurdly breathless BusinessWeek cover story back in 2006. Over a portrait of Digg founder Kevin Rose (both thumbs up, headphones on, baseball cap on backwards, grinning like a doofus), a headline blared HOW THIS KID MADE $60 MILLION IN 18 MONTHS (an insane guesstimate of his net worth based on guesstimates of Diggs then-supposed value). Digg is now an also-ran-done in, in part, by the ever-shifting currents of the social web as well as its own stupidity. The site, as youve surely heard, recently engaged in a disastrous attempt to reposition itself. How disastrous? Some of the most dugg stories on Digg lately have been about how Digg users are abandoning the site in droves because the new Digg sucks. Google the words Digg

redesign and the first result (at least at the time of this writing) is a Digg page linking to a heavily dugg ReadWriteWeb.com story titled Digg Redesign Tanks: Traffic Down 26%. To his credit, Diggs new CEO Matt Williams wrote an open letter last week that said were deeply sorry that we disappointed our Digg community. He then offered a rather breathtaking laundry list of stuff that, to placate users, theyve already changed back, plan on changing back (like restoring Diggs bury button) or otherwise plan on tweaking. Williams most astonishing sentence: Our top priority is to make Digg as good as it used to be. OMG, Digg, WTF? The truth is, boneheaded moves of this sort are incredibly common in the digital space. The history of new media is littered with former genius types suddenly doing themselves in with not-so-genius moves. Some startups are born with a death wish (see: Napster), but most rather quickly acquire it. Why does this sort of thing keep happening? Simple: Great Recession aside, the startup world continues to exist in a bubble economy propped up by venture-capital dollars. Being clever enough to score backing continues to be seen as proof of brilliance-and market-dominating chops. But satisfying VCs and satisfying users are often two very different things. The irony of the moment: Old-media types, having been labeled numbskulls for so long, are increasingly taking a humbled, sober view of both the media marketplace and their own balance sheets. Whereas the bubble boys of Silicon Valley-at least those still flush with cash-can persist in their own sort of state of denial. But hey, guess what? Turns out that having a lot of VC funny money in the bank doesnt make you any less susceptible to Darwins laws. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

October 18, 2010 EDITORS NOTE SECTION: Pg. 12 Vol. 81 LENGTH: 145 words

Each year Ad Age honors a company thats demonstrated the killer combination of great product, smart innovation, marketing ingenuity and a relentless focus on the customer. This year, our shortlist contained several that filled the bill: Apple, Chick-fil-A, Dominos, Ford Motor Co., PepsiCo and Southwest Airlines. Ultimately, our pick for Marketer of the Year went to Ford, a comeback story for the ages. But our audience disagreed, voting in Southwest for its commitment to customer service and making its free-checked-bags policy a rallying cry. But then there was Apple, which seems to make our shortlist every odd year. It only seemed right to honor this groundbreaking company with a distinction we have never before given: Marketer of the Decade. Each of these offer key lessons for smart marketing in difficult times. Agree with our list? Disagree? Let us know. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Can Paramount stir up same buzz for Paranormal sequel?; This time around, studio is forgoing the experiential for a more traditional marketing strategy, in hopes of building a franchise BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM

SECTION: Pg. 6 Vol. 81 LENGTH: 927 words

Horror fans know that Freddy, Jason and killer leprechauns never die-they simply keep coming back. Now Paramount is hoping for the same effect as it tries to lure audiences back for the sequel to its breakout horror hit Paranormal Activity. Stakes are high for recreating what Ad Age honored in its Digital A-List (and what The New York Times declared certainly the movie-marketing story of the year). Last fall, Paramount proved a film could be launched on the back of social media, using a platform called Demand It, from San Diegobased Eventful, to dictate Paranormal Activity would be released first to audiences that wanted to see it most. But the studio is adopting a more-traditional marketing and distribution strategy for the films sequel, out Oct. 22, in the hopes of building a future horror franchise. That strategy means likely forsaking the incremental buzz that fueled the success of the last film. The marketing strategy for Paranormal Activity 2 is more heavily reliant on TV and traditional media, with spending estimated in the $14 million to $17 million range, according to executives familiar with the campaign. While that figure is still conservative (studios typically spend $30 million to $36 million to market a wide release), the studio is in a theoretically low-risk position for a highly anticipated sequel. Spending $17 million on film that cost between $1 million to a little more than $2 million to produce means Paramount could easily turn a profit during the opening weekend alone if the sequel tops the first films $22 million haul in its first weekend of wide release last October (clobbering Lionsgates Saw VI, the favored box-office draw, in the process). But instead of the experiential, audience-reaction ads that made the first film such a word-of-mouth hit, the new series of TV spots and theatrical trailers are teasing existing fans with allusions to the first film, and Paramount has kept plot details under wraps for the sequel, which was produced by Oren Peli (who filmed the original with a handheld camera for a measly $11,000 in 2007) and directed by indie director Tod Williams. The studios partnership with Eventual also helped drive early buzz for the first film. Paramount agreed to release Paranormal Activity wide once 1 million fans asked for it, and an outpouring of response (more than 1.3 million fans demanded it within three weeks) was enough to make Paranormal the most-profitable film in Paramounts history on a budget-to-gross ration, hauling in more than $107 million in the U.S. (and another $85 million abroad). The demand-based distribution has been scaled back in a big way in favor of releasing the film wide next week, though the studio is re-teaming with Eventful to determine which 20 markets get to see the film first via free midnight screenings on Oct. 21, the eve of its release. The film is in a very different place now than when it was unheard of, said Eventful CEO Jordan Glazier. So we said, Lets tap into fans of the first film, and give 20 markets the opportunity to be the first ones to see the

film. The pressure to recapture the lightning-in-a bottle success of the first Paranormal has been unseen among horror franchises-or perhaps any film franchise-since The Blair Witch Project. The Artisan Entertainment film famously grossed more than $140 million domestically on a $60,000 budget. The films sequel, Book of Secrets: Blair Witch 2, was a big-budget, scripted production that betrayed the original movies style and marketing model, suffering at the box office as a result with $26 million. Mike Monello, partner-executive creative director at Campfire, which executed the first Blair Witch campaign, said Paramount runs the risk of repeating the Blair Witch franchises misstepsthough based on what hes seen from early trailers, he thinks Paramount has avoided that fate. As a fan and as a marketer, its good not to reveal too much about the film, in particular a horror film and one that will follow a pattern of the film that came before it, he said. If they violate the things people loved about the first film and the world it sets up, people arent going to like it. Paramount suddenly has a considerable amount riding on the sequels success. Despite finishing the second quarter with 26.1% market share of box-office grosses thanks to hits such as Iron Man 2 and distributing DreamWorks How to Train Your Dragon, the second half so far has been decidedly hit-and-miss. Dinner for Schmucks underperformed, and plans to expand indie drama Middle Men were scrapped. Earlier this month, the long-shelved Renee Zellweger thriller Case 39 managed only $10 million in two weeks of wide release. Meanwhile, Eventful is still proving itself as a viable vehicle for studios to market their films and potentially create innovative distribution and screening strategies. Since last fall, the company has executed nearly 20 different movie-based campaigns for studios such as Universal and MGM, and has seen its services become so popular that some studios have co-opted the model for their own use. Paramount is currently using its own proprietary Demand-like model for Waiting for Superman, encouraging moviegoers to pledge to see the film in their market and syncing the page to Facebook and other social-media platforms. Mr. Glazier takes the emulation in stride. When youre doing interesting and innovative things, of course people are going to try and replicate different aspects of it into their own marketing, he said. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Media pushback stalls Pepsi, InBev quest to buy cheaper ad space; Six months into joint mediabuying pact, TV, print partners reluctant to strike deals BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 3 Vol. 81 LENGTH: 806 words

Pepsico and Anheuser-Busch InBevs landmark media deal, which applied their joint procurement agreement to media buying, hasnt exactly been a success. But theyre not calling it quits. The companies plan to continue seeking media deals, even as most major media players have rebuffed their efforts. Its been six months since Ad Age first reported that the pair had teamed up in a landmark media pact, stemming from a joint-purchasing agreement they signed a year ago. That agreement has saved them upwards of $1 billion in areas including logistics, travel, office supplies and couriers, but the plan to save money on media deals by combining their scale hasnt proved as lucrative. There have been overtures to companies such as Cond Nast, Time Warners Time Inc., NBC Universal and Time Warners Turner. And while PepsiCo and A-B have found some success in the print world, theyve met with stiff resistance from TV outlets. One media executive said that PepsiCo and A-B execs promised potential spend and share increases from both companies that did not pan out. In the end, the alliance failed to put anything on the table that was attractive enough to have merited pricing concessions, this executive said. In the magazine industry, one company rebuffed the joint buying effort early on, according to executives. This company told the marketers that it works with clients one at a time, according to an executive there who said that was the end of the conversation. But another major publisher did make some deals with the alliance this year, an executive at that company said. The executive said there havent been any talks yet about ad buys for 2011. TV outlets including Time Warners Turner cable declined to do deals based on the terms the consortium was seeking, according to ad buyers and TV executives. TV ad-sales groups found the

companies pricing terms unattractive. Several executives at TV outlets and buying firms suggested the alliance had a small amount to spend compared to the amounts the bigger ad-buying firms have at their disposal, and thus lacked sufficient leverage to drive their deal home. While PepsiCo and A-B have proved to be good partners in many ways, buying media together has not been as natural of a fit as, say, buying travel or office supplies. PepsiCo tends to do more magazine buys than A-B, for example. And PepsiCos brands are also apt, in some cases, to focus on different networks, TV programs and time slots than A-Bs beer brands. PepsiCo, a giant in the U.S. beverage and snack business, boasts a roster of billion-dollar brands that includes Pepsi, Gatorade, Mtn Dew, Tropicana, Lays, Doritos and Quaker. A-B, meanwhile, dominates the U.S. beer business, boasting a market share of nearly 50%. Its leading brands include Bud Light, Budweiser, Busch, Natural Light, Michelob and Stella Artois. The sad thing is there is a lot of potential in this [concept], said one executive. The problem here is Pepsi and A-B are not the best fit from a company standpoint. They are not good fits from a pure media standpoint, except in the sports area. And thats why there arent a lot of fits when they are trying to buy TV and print together, especially in areas like cable. Thus far, the pair seems to have focused on media where their combined heft is the greatest. According to Kantar Media, the pair spends some $1.15 billion on U.S. media, including $490 million on network TV, $182 million on cable, $194 million on magazines and another $70 million on outdoor media. PepsiCo and A-B both said theyve been happy with the collaboration between the two companies. And the group will continue to work together on media deals, according to Dave DeCecco, a PepsiCo spokesman. Our overall joint-purchasing agreement is going very well, said Mr. DeCecco. On the media side, while the alliance is still young, weve seen some benefits already this year, and we both believe well continue to find opportunities across multiple channels in 2011 and beyond. Weve been working with [PepsiCo] on commercial purchasing projects and will continue to look for opportunities down the road, added Keith Levy, VP-marketing at Anheuser-Busch. However, there are still no plans to team up in a bid to put the squeeze on agencies. Both A-B and PepsiCo are major clients of Omnicom Group. A-B works with DDB, while PepsiCo uses Omnicom creative shops such as TBWA and Goodby, Silverstein & Partners, and also retains Omnicoms OMD for media services. A-Bs media buying and planning is handled internally by its Busch Media Group unit. Richard Bellas, VP-global procurement for advertising and marketing, is leading the endeavor at PepsiCo, and Mark Wright, VP-media, sports and entertainment marketing, is running point on the AB side. CONTRIBUTING: BRIAN STEINBERG, NAT IVES, MICHAEL BUSH AND E.J. SCHULTZ

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Advertising Age October 18, 2010 MARKETER OF THE YEAR; RUNNER-UP BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 18 Vol. 81 LENGTH: 586 words

PEPSICO Beverage company gets a Refresh after a rough year, becoming a digital and social-media leader with programs such as Dewmocracy and startup-booster PepsiCo10; sees sales of Gatorade, SoBe bounce back thanks to strong marketing, while food remains a bright spot What a difference a year makes. Last year, PepsiCo found itself in the headlines for all the wrong reasons. This year the snack and beverage giant has hit its stride. The company has emerged as a leader in the digital and social-media space, with programs such as Refresh Project, Dewmocracy, Gatorade Mission Control and PepsiCo10, an incubator for media, communications and technology startups. Its beverage brands, many of which went through the ringer in 2009, have bounced back thanks to strong innovation and marketing that led to growing sales, while its food brands continue to be a bright spot. And the companys much-discussed Power of One strategy is coming to life on the marketing front, thanks, in part, to the purchase of its two largest

bottlers. PepsiCo started the year with a bang, announcing Pepsi would bypass the Super Bowl for the first time in 23 years to focus on the Refresh Project. Buzz surrounding that move outstripped the buzz of the brands that actually bought time in the Super Bowl. Refresh Project, meanwhile, has attracted nearly 53 million votes and, almost 10 months after launch, still generates between six and 12 media reports a day. Gatorade has also begun to bounce back. The G Series, launched in April, seems to have sparked consumer interest, with volume growing 6.8% through the end of August, according to Beverage Digest. Gatorade Mission Control has also helped the brand manage perceptions and shape conversations. The team has had more than 2,000 one-on-one conversations with consumers, while the brands likes on Facebook have skyrocketed to 1.2 million, reaching the 1 million milestone a full five months ahead of schedule. Elsewhere in the beverage portfolio, Mtn Dew took crowdsourcing to a new level when it had consumers select creative agencies. Ads for the products began running in April. SoBes embrace of PR and digital shops also seems to be paying off, with market share growing five points in the first half of the year, according to Beverage Digest. Pepsi Max has gained traction, with new packaging and a comparison campaign that pits the brand against Coke Zero. Sales were already up double digits in the four weeks following the launch. And the company tapped into popular demand for sugarsweetened beverages with the launch of Sierra Mist Natural. But perhaps the biggest news in the beverage division this year was the completion of PepsiCos acquisition of its two largest bottlers. That move has positioned PepsiCo to capitalize on what it calls the Power of One. The strategy entails making the companys myriad businesses more cohesive. By purchasing its bottlers, PepsiCo is now able to bundle promotions for its food and beverage brands, merchandise its products together and coordinate things such as joint deliveries. Another Power of One program will come to life on the ad worlds biggest stage, with Doritos and Pepsi Max teaming up for a Crash the Super Bowl campaign. The contest is being run jointly and shared in-store promotions are also planned. PepsiCos food business has been a bright spot throughout the recession. During the most recent quarter, the division again posted positive results, with revenues growing 4%. Revenue is also up 4% year to date. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Simon who? Idol spots still priciest in prime time; Ad Ages exclusive annual survey of broadcast TV ad costs has Fox sitting pretty with five of the top 10 shows BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 807 words

Simon Cowell may be gone, but American Idol isnt feeling his loss. Foxs popular singing contest retains its status as the most expensive show on TV for advertisers, despite the acerbic judges departure after last season and a 9% dip in viewers between the ages of 18-49 during that time period. Next years Idol is getting an average $467,617 per 30-second ad on Tuesday night and $400,546 per 30-second ad on Wednesdays weekly results show, according to Advertising Ages annual TV pricing survey of media buyers, making Idol far and away the priciest show on TV for advertisers. Ad Age compiled data from six media-buying firms and other sources to calculate its figures. Fox dominates our list of top-dollar shows this year, in part due to the success of musical drama Glee. Fox airs half of the top 10 most-expensive programs for the 2010-2011 season. NBCs Sunday Night Football continues its reign as the most-expensive program for advertisers for the first half of the TV season, commanding an average of $415,000 for a 30-second ad-a testament to advertisers fervent desire to align their commercials with live sports, where viewers watch in real time and cant fast-forward past the ads. For its part, Glee gets an average of $272,694 per 30second ad in the fall, when it appears on Tuesdays, and $373,014 per 30-second ad in the spring, when it appears Wednesdays after the Idol results show. We had a strong upfront across the board, said Jon Nesvig, president-sales, Fox Broadcasting, in a statement provided by email. Two of Foxs veteran Sunday-night animated programs also helped the network. Family Guy averages $259,289 for a 30-second ad, while The Simpsons has an average of $253,170 per 30-

second ad, according to Ad Ages survey. Foxs Monday-night medical drama, House, averages $226,180 per 30-second ad. Rounding out the list of top shows are ABCs Greys Anatomy, which brings in an average of $222,113 per 30-second spot; NBCs The Office, which averages $213,617; ABCs Desperate Housewives, at $210,064; and CBSs Two and a Half Men, at $206,722. The survey shows the prices of several of TVs most expensive programs on the rise, after a few years of declines that went hand-in-hand with a sagging economy. Last season, a 30-second spot in Sunday Night Football, for instance, averaged $339,700. A 30-second spot in Glee went for an average of $127,350; and the average cost of a 30-second spot in Family Guy was $214,750. Not every programs price is on the rise. Greys Anatomy, which rode atop our survey in 2007, last year had an average cost of $240,462. Desperate Housewives last year secured an average cost of $228,851. CBSs Mike & Molly is the most-expensive freshman show for marketers, commanding an average of $189,160 for a 30-second spot. Last seasons most-expensive freshman show, ABCs Flash Forward, commanded an average of $175,724 for a 30-second commercial. Flash Forward did not get renewed for this season. The prices are directional indicators, not the price that every advertiser pays for a 30-second spot. The estimates are based on what advertisers paid for ad time during this years upfront market, during which marketers commit to advertising months or weeks in advance, in exchange for locking down price guarantees. The market for scatter advertising, or ads purchased much closer to air date, has been robust, so prices are likely to have risen (and in the frenzied first weeks of the new TV season the networks have also moved or canceled some shows). And its worth noting that most TV advertising is typically purchased as part of larger negotiations, not on a one-off basis. Prices often depend on the advertisers relationship with the network, the volume of inventory being purchased and the presence of nontraditional advertising, such as product placements. Indeed, prices can vary by as much as 25% to 40%, depending on any number of factors, one media-buying executive suggested. American Idol is one of the flash points of the current TV season, with advertisers, rival networks and Fox itself left wondering whether a mix of new judges will keep the show from sagging in the ratings. This years season finale was one of Idols lowest-rated. Yet the program appears to be maintaining its pricing. Last year, a 30-second spot in Idol was going for between $360,000 and $490,000. Sunday night continues to be the most-expensive night of the week for advertisers, according to the Ad Age survey-at least in the first half of the season. Its programming grid is filled with sports and animated programs that attract young men-an audience that advertisers consider extremely elusive. Thursday night, the evening that many advertisers consider essential for driving weekend purchases of movies and attendance at sales, ranks second.

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Advertising Age October 18, 2010 CORRECTIONS SECTION: Pg. 20 Vol. 81 LENGTH: 22 words

RE: Advertising Week: Now New and Improved (Oct. 4). The story incorrectly attributed E-Trade CMO Nicholas Uttons quote to Nick Brien. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 CORRECTIONS SECTION: Pg. 20 Vol. 81 LENGTH: 59 words

Community Newspaper Holdings had 2009 revenue of $458 million (down 14.4% from $535 million in 2008), placing it No. 73 on Ad Ages 100 Leading Media Companies ranking. These figures are based on Ad Age DataCenters revised analysis of the private companys revenue; Ad Age previously had estimated 2009 revenue at $371 million (Media 100, Sept. 27, 2010). LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Correction Appended MARKETER OF THE YEAR; RUNNER-UP BYLINE: THOMAS PARDEE; tpardee@crain.com SECTION: Pg. 16 Vol. 81 LENGTH: 676 words

CHICK-FIL-A Armed with a beloved product, a winning 15-year marketing campaign and a strong commitment to customer service, fast feeder continues to enjoy the kind of success and following its competitors dream about but rarely achieve Often, the smartest marketing is the most patient marketing. Just ask Atlanta-based chicken chain Chick-fil-A, which enjoys the kind of rabid following every restaurant brand dreams about but only rarely achieves. Even if youve never visited one of its 1,500plus locations-located primarily in the South but increasingly in pockets across 38 states and Washington-youve heard of its famous chicken sandwiches, nuggets and reputation for customer service. Though it isnt Americas largest chicken fast-feeder (that title still belongs to KFC, despite some high-profile marketing foibles), Chick-fil-A does do singularly impressive business, and its stayed the course with the same marketing campaign for 15 years. Since it opened in 1967, Chick-fil-A has seen sales growth every year (numbers were up almost 9% in 2009 alone, to $3.2 billion). The privately held company also manages to achieve better sales numbers on average per location than larger chains such as McDonalds, and in less time-all Chickfil-A locations are famously closed on Sundays, in accordance to founder Truett Cathys Christian beliefs. Chick-fil-A has worked with Richards Group, Dallas, since 1995, when it launched its quirky, cowfocused Eat Mor Chikin campaign that is still a fixture of its marketing strategy. Its also continued Cow Appreciation Day, an annual marketing push that includes a bus tour of New York to offer items from its menu to rabid fans in a market famously devoid of a full-fledged Chick-fil-A location. Unlike its competitors-which includes Popeyes nationally and the already noted KFC-Chick-fil-A hasnt made any major shifts, additions or changes to either its menu or its marketing campaign. It also opens fewer than 100 new locations each year, which, for such a high-earning company, is modest. VP-Marketing David Slater said this strategy is tantamount to one of Chick-fil-As core values: focus on getting better before getting bigger. We make decisions that many times dont pay off in the next 90 days, Mr. Slater told Ad Age in July. The success that were enjoying today, even in the midst of this financial crisis, is not [based on] what we did yesterday, its what weve been doing over the course of years. A lot of our competitors are kind of forced into 90-day cycles because theyve got to report back to stockholders. Meanwhile, as many other restaurants attempt to lure customers with coupons and discounts, Chickfil-A has kept its prices relatively steady. While it has introduced new variations of its existing products-such as the spicy chicken sandwich it launched this summer-it hasnt had any huge departures from its core menu. Analyst Darren Tristano, exec VP at food research firm Technomic, said consistency in Chick-fil-As

product and message is the key to its success. Theres an expectation to serve a very traditional product, but to add newer, bolder, spicier flavors, he said. Its about trying to maintain high levels of service, high quality, not deviating dramatically, and giving customers an idea of what to expect. While Richards Group handles the bulk of Chick-fil-As marketing, its official social-media strategy is relatively new, having only been picked up by digital shop Engauge in February. Since then, the brands Facebook following has nearly tripled, and social media has been integrated into many of its standing marketing campaigns, like Cow Appreciation Day, when it tweeted many New York followers the location of the Chick-fil-A bus. While the chain continues its steady growth (it opened a much-requested location near Chicago last month), Mr. Tristano said its disciplined approach to marketing and development will continue to keep it in high esteem with customers. They still have a lot of opportunity, and a lot of road left to conquer, he said. LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH CORRECTION-DATE: October 25, 2010

CORRECTION: In the Marketer of the Year profile of Chick-fil-A (AA, Oct. 18), VP-Marketing David Salyers was misidentified as David Slater. PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 18, 2010 Purpose-driven marketing all the rage at ANA BYLINE: E.J. SCHULTZ AND JACK NEFF; ESCHULTZ@ADAGE.COM AND

JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 791 words

In the midst of an uncertain economic climate that has the industry hopeful for a rebound, yet nervous enough not to expect it, the Association of National Advertisers celebrated its 100-year anniversary at its annual convention last week with a record-breaking 1,600 attendees. And based on the tone of much of the discussion, the organization might want to consider a new name for the next century: the Association of Purposeful Advertisers. On and off the podium, marketers from Procter & Gambles Global Brand-Building Officer Marc Pritchard to Coca-Cola Chief Marketing and Commercial Officer Joe Tripodi and Dells former CMO Erin Nelson evangelized about purpose-driven marketing. The concept is, at its core, a return to the basics of intensely engaging customers and creating a culture where the corporation can benefit by giving back or enabling its consumers to do so-and profiting in the process. Mr. Pritchard might have put it best: Theres a lot of cynicism and distrust in the world of big institutions, and companies really need to share with people what they value, what they care about, he told fellow marketers. He showed off programs from Tides Loads of Hope, which helps launder clothing for disaster victims, P&Gs program in Nigeria to encourage young girls to stay in school by offering them feminine protection, and the companys multi-brand Winter Olympics campaign that was themed around athletes moms; P&G even paid to transport 250 of their moms to the Games. We decided to say were in the business of helping moms, and it hit an emotional chord with people and also had a great halo effect on the rest of our brands. The effort, though, also paid off: The Olympics program brought in $30 million in incremental sales, he said. Purpose isnt just good for the soul, its actually really good for the bottom line, said Dells former CMO Erin Nelson, who presented alongside her successor, Karen Quintos. The purpose can become the filter that says do I or do I not invest the resources in getting this done, is it going to help me achieve the purpose for which my company exists every single day. Jim Stengel, the former Procter & Gamble Co. Global Marketing Officer who became the guru of purpose brands at P&G during his seven-year tenure in that post, which ended in 2008, is now one of the chief movers of the concept as a consultant (for Dell among others). He was registered but couldnt make the conference, he said, apparently pinned down in Cincinnati with a bit of work on purpose-branding consulting. But he said the frequent references to purpose, which he was following via Twitter, were gratifying. Coca-Cola, meanwhile, is trying to help consumers live positively around the globe, Mr. Tripodi said, talking about LOHAS, which stands for lifestyles of health and sustainability. To that end, it is aligning with water-preservation projects and recycling pushes. He showed a YouTube video called Hand Revolt created in-house that shows people with cans stuck to their hands-until they hold their

hand over a recycling bin. We have to move from impressions to expressions, said Mr. Tripodi. Above loyalty is advocacy. Via this strategy, Coke has a lofty goal to double its sales over the next decade. Cindy Gallop, who has founded a purpose-driven venture called IfWeRanTheWorld, went so far as to call it the future of advertising and argued it would help reverse the bad connotation the discipline has among consumers. Advertisers must engage with a project that has meaning for consumers or helps them change the world, she said, adding that action is transformable and bonding. Others discussed the issue of bonding with consumers in more general terms. Marilyn Mersereau, senior VP-corporate marketing for Cisco-a tech marketer not usually seen as warm and fuzzydisplayed the consumer-friendly Umi device as a means of connecting families. The key, she said, is discovering what is the emotional connection that my brand has to its customers. Said Target exec VP CMO Michael Francis: Expect more, pay less isnt just a tagline, it is our emotional connection to our guests. Of course, the economy reared its ugly head in hallways and on stage. In a very gloomy and muchdiscussed presentation, economist and New York Times columnist Paul Krugman offered this sober assessment: History tells us that we should not count on any kind of recovery anytime soon, he said. The economy is depressed because people dont want to spend. And much of the event, as reflected in talks from Mr. Francis, Fidelity Investments exec VP-CMO Jim Speros and Geico VP-CMO Ted Ward, was also centered on how to get them to spend. Thats as purposeful as it gets. CONTRIBUTING: JUDANN POLLACK LOAD-DATE: October 21, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

October 11, 2010 When top earners snap their wallets shut, we all feel it; Although recession didnt affect affluents as much as the rest of America, their hesitation to splurge on luxury goods did make a dent in the economy BYLINE: MATT CARMICHAEL SECTION: Pg. 6 Vol. 81 LENGTH: 1270 words

Earlier this year, The Onion ran a story headlined Rich Guy Feeling Left Out of Recession. Turns out the article had more truth than most that appear in the humorous paper. This recession hit Americans in very different ways but the affluent, while not totally immune, felt far less impact than most consumers. You hear this number so often, you start to get used to it: Half of all income in the U.S. is earned by just 20% of households. Thats up more than 10% in the last 20 years. Nearly three in four dollars are earned by the top 40%. Heres a number you dont know: There was a 5.2% drop in households earning more than $100,000 between 2008 and 2009, according to the latest Census Bureau statistics. Considering that this group accounts for 38.5% of total consumer spending, losing 1.2 million of them is the kind of bump the economy feels. The affluents spend an amount nearly twice the median household income for the U.S. as a whole. To put it in perspective, to lose that much spending power from the bottom 20% of earners, it would take a consumer population roughly the size of Wisconsin. Who are the affluents and where do they get all this money? They live in larger households and are slightly more likely to have children under 18 in the house. The household heads are pretty evenly split between men (56%) and women. They are dual-income households. Almost all of them own at least one car (average is 2.8), 89% of them own a house and 84% graduated from college. Most (80.6%) are non-Hispanic whites, but that number and the number of black households decreased as the percentage of Hispanic households in the upper bracket rose to 6.6% in 2009. Besides the half-of-all-income, they pull in an eye-opening 73% of self-employment income and 64% of interest, dividend and other investment-related income. Theyre not collecting much Social Security (only 18% of payouts) but contribute 55% to the system and other pensions. They pay 73% of total personal taxes, down from 89% in 2008, when they had more capital gains to tax. The economy notices when they slow their spending because these consumers spend a lot of money. Like $2.3 trillion a lot. In fact, of all the product categories tracked by the Bureau of Labor Statistics, they are outspent by lower-income groups in only three segments: car insurance, rent and tobacco products.

So its been rough on the goods that only they buy. Of the top 100 boat dealers who reported figures to Boating Industry, 80% saw sales slip in 2008. Last year wasnt a great year for the ultra-high-end car market, either. Sales of the segment fell nearly 40%, according to Automotive News and data provided by R.L. Polk & Co. Thats twice as fast as the industry decline. Still, 6,700 new units sold. The majority of the customer base is staying in their cars longer or buying out their leases, said Jon Boardman, general manager-sales operations of OGara Coach Co., Beverly Hills. Perception might be part of the rationale behind choices like that-not wanting to appear too flagrant about your continued wealth. For the customers buying new cars, however, they still tended to opt for the lambs wool rugs and Moccasin leather interiors. If youre buying a car thats $250,000, theres really no difference between the lower end at $230,000 or the fully-loaded $270,000, said Mr. Boardman. The market for luxury goods, which has been generally trending upward since the mid-90s, dropped 8% in its worst year ever, according to Bain and Co. Its rebounding quickly and Bain projects it will be up 4% this year. Department store sales, according to IBIS World, continued their slide, with sales falling 9.5% in 2009. Consumer electronics had two straight years of declines and are projected to be nearly flat in 2010. The economy also notices when they start spending again because they buy more than just luxury goods. Moodys Analytics believes much of the economic growth at the end of 2009 and start of 2010 was fueled by the affluents and their spending. That hit a snag in the second quarter when the markets took another fall, impacting the heavily invested high earners and likely causing them to pull back again. Their net worth went down with the value of their homes; their optimism dropped, so Im not surprised they cut back, said Bob Shullman, president of Ipsos Mendelsohn, which conducts the only major consumer survey of this demographic. But the affluents still have the wherewithal, much more than the rest of American, to resume spending once their optimism returns. And the optimism is returning, according to the Ipsos Mendelsohn survey. Looking at those who plan to take a vacation abroad, the figure dipped in 2009 to 28% but has crept back up slightly in 2010 to 29.3%. The survey also found a big increase in plans to buy or lease a car, move, have a baby, redecorate and remodel their homes. Income doubled for the top group between 1979 and 1989 and has doubled again since then. For the bottom 20%, its been a slower pace. It took from 1974 to 1986 to double and has barely doubled again since then to $11,500. In constant dollars, income has increased 28.6% for the bottom 20% since 1967 but 70.7% for the top quintile and almost 90% for the top 5% of earners. This is not a trend that looks to reverse itself any time soon. Their income fell less than that of other income groups-just 0.6%, compared to the lowest earners, who saw wages fall 4%. The affluents only cut their average spending in 2009 by 2.8%-also less than most other income groups-but increased their share of spending slightly. For those marketers going after the affluent, the good news is that they consume a lot of media and that

different age groups consume it differently. So you can reach them and be on their radar as their spending picks back up. They are pretty much all online, and watch an average of 18 hours of TV a week, with local news leading the way for most age groups, according to the latest Ipsos Mendelsohn Affluent survey. They also read a lot of magazines, though less than they did in 2009. Thirty-one percent read a blog, which is way below recent eMarketer figures for the general population. About a third of them own smartphones, and those consumers are even easier to reach. They are far more likely to consume just about any form of online and offline media. The e-readers and tablet users among them are, not surprisingly, the biggest media consumers of all, although, oddly, the tablet users arent really into blogs or texting. Digitas recently analyzed this and other data on the affluents and noted that while the smartphone use for functional purposes beyond texting and email is still relatively small, various uses from checking stock quotes, researching restaurants, reading news and sports scores is increasing rapidly. The bottom 20% of earners pull in 3% of total income, yet they account for 9% of spending. They are three times as likely to be black and twice as likely to be Hispanic than the top 20%. One in 10 never went to high school and 40% fewer have a college degree than their high-earning counterparts. According to the Center for Labor Market Studies at Northeastern University, the bottom earners were over 12 times more likely to be underemployed than the top earners. The economy is hitting savings unequally, too. Forty-eight percent of blacks polled in an Ariel Investments Black Investor Survey said that they had pulled money out of their savings to make ends meet in the past two years, vs. 31% of whites. Also, blacks are nearly twice as likely as whites to have reduced their contributions to 401(k) plans. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Urban trope misses a large swath of black consumers; Middle-class images abound, but advertisers are ignoring single moms, gays and lower-income African-Americans at their peril BYLINE: IRINA SLUTSKY; ISLUTSKY@ADAGE.COM SECTION: Pg. 15 Vol. 81 LENGTH: 836 words

Mention the word urban and marketers see a young black man with headphones, fresh sneakers and a slick cellphone, bobbing his head to a hip-hop soundtrack down a graffitid city street. Thats the hackneyed image of the African-American consumer portrayed in many campaigns. Yes, there is an urban market-and many urban African-Americans use cellphones as their primary media/computer devices, for sure. And when it comes to fashion, music and culture, its a market thats extremely influential. But marketers who assume that urban represents the entire African-American population are missing out on other key consumer segments. Segments such as the black single mother, the black gay or lesbian, and black lower-income earners have been overlooked by marketers and lumped together under the misleading urban umbrella. There is no monolithic blackness, said Lynne d Johnson, a senior VP at the Advertising Research Foundation. But if you are not the Ebony or Essence reader, you are underrepresented. There are other segments within the African-American demographic that are not those or hip-hop. She added that repurposing mainstream ads for the market or advertising only on black websites and in black publications is not marketing to the demographic. Where is the engagement, where is the conversation? Ms. Johnson asked. We dont have to convince anyone anymore that the African-American consumer is important. In 2009, the African-American market equaled $910 billion. Its important for advertisers and marketers to understand that this $910 billion is available to companies that understand the nuances of the culture and the insights that come from understanding. As smart advertisers know, insights create better advertising, which leads to the kind of decisionmaking brands want at point-of-purchase. Addressing and talking about specific concerns of the segment an advertiser is marketing to are essential parts of having a successful campaign that results in brand loyalty. So how do you talk to single black mothers? Understand their concerns. About 71% of black births in the U.S. are to single mothers, said Pepper Miller of the Hunter Miller Group, a market research group specializing in African-American consumers. These mothers

believe they are different from white mothers-they believe they get less support from the family of the babys father than a single white mother. They also believe they are stereotyped as welfare queens and that they do not raise well-behaved children. This is an opportunity for advertisers to create a relationship with her, to tell her story and to connect with her, to make her feel important and relevant. In other words, just because she feels different doesnt mean an advertiser cant make her feel special. Research shows that the African-American gay or lesbian consumer has a higher income and is better educated than the average consumer, and yet this is not a targeted market, unlike the white counterpart. This week, for example, The A List-described as a Real Housewives for gay men-premiered on Logo. It had all the product placement, the shopping, the cars, the wine drinking and the restaurants that can be crammed into a one-hour reality show based in New York City. What it was missing was black representation. The black LGBT segment is totally ignored by advertisers, Ms. Johnson said. And typical African-American ads or LGBT ads dont speak to this consumer. A third consumer segment that has been overlooked is the lower-income household. They tend to live, worship and socialize exclusively in the black community, said Ms. Miller. While the black middle class goes out for sushi and travels to Europe, this group takes driving vacations around the United States, primarily to the South. According to a study by Target Market News, this group goes to the store more often than almost any other type of consumer in that same income class, which means they spend more money, especially on packaged goods. Nielsen data show the lowest income population growing the fastest, as much as 17.8% in some scenarios, with affluent and wealthy segments declining (9.2% and 5.5%, respectively). And within the entire African-American consumer class, this segment spends the most per month on groceries-a great opportunity for many big brands to target this family-and communityoriented group. And yet they are largely ignored. Unfortunately, anecdotal research shows that marketers are currently not asking to market to this audience. Mobile social network Mocospace has 14 million members divided about evenly by thirds into African-Americans, Hispanics and whites. Casey Jones, Mocospace VP of marketing and music, said that while many big brands have come to him to target the black members of Mocospace, none have asked for specific segmentation. We have not had them ask for that level of targeting, Mr. Jones said. But we hope to see that. We can provide it through structured data and behavioral data, but have not done it so far. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 11, 2010 Call it the new America: How U.S. assimilation is changing marketing rules; Growing group of multicultural consumers is making segmenting increasingly complex -or impossible BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 682 words

When Najoh Tita-Reid was a multicultural marketing director at Procter & Gamble Co. launching the My Black Is Beautiful marketing program, one of the realities she faced was that many of the women the effort was targeting were Hispanic as well as black. Today, as senior VP at GlobalHue Africanic, she sees a growing group of multicultural consumers who may not fully identify with any one box theyre asked to check on the 2010 Census. Call it assimilated America, one where Spanglish may be the emerging national dialect and the U.S. population is in many ways multiethnic, making future distinctions and segmentations increasingly complex or even impossible. More people are embracing more of their bicultural [status] and the country is increasingly embracing people who are bicultural and multicultural, she said. Theyll increasingly represent the new America. You could be forgiven for thinking otherwise. Despite, or perhaps because of, rapid ethnicpopulation growth on the way to a projected majority minority in 2050, ethnic polarization seems rampant-look no further than the Arizona border controversy. The legendary American Melting Pot seems like history. Theres just one problem, however: Its wrong, according to some people whove studied it either as

academics or marketers. The heat around immigration and ethnic tension may just be what the melting pot throws off as it simmers like it always has. Anti-immigrant sentiment has a long history in America, going back to Benjamin Franklin openly wishing German immigrants would go home, according to Duke professor Jacob Vigdor. They didnt, of course, and Mr. Vigdors living proof. Mr. Vigdors assimilation index measures how well immigrants resemble native-born populations based on a variety of economic and cultural factors such as education and language, and it shows todays immigrants are less assimilated than those a century ago. But looking closer, thats largely because of the size of the immigration spurt since the 1980s, unprecedented in absolute numbers and roughly similar to that of the early 20th century in terms of how its remade the ethnic landscape of the country. The increased ratio of newer immigrants to older ones seems to slow assimilation. In fact, immigrants of the past quarter century-and especially since 1995-are actually assimilating more rapidly than their counterparts a century ago, according to research by Mr. Vigdor, largely along cultural lines such as language acquisition, marriage and childbearing patterns. Whats more, the recent slowdown in new immigrants could actually foster assimilation, and evidence from the University of Southern California supports that view, according to Dowell Myers, professor of urban planning and demographics at the university. People are slow to change their language or their food and clothing tastes when they immigrate, Mr. Myers said. But the second generation is often bilingual and acculturates rapidly, adopting a blend of their parents and their home countrys habits. By the third generation, many offspring of immigrants dont even speak their grandparents language. Hispanic actress Jessica Alba is a good example. When a reporter asked her a question in Spanish on the red carpet of an awards ceremony, this granddaughter of a Mexican immigrant had to admit she couldnt speak the language. Meanwhile, the Pew Research Center earlier this year found a record one in seven, or 14.6% of all new U.S. marriages in 2008, were interracial or inter-ethnic. Among all newlyweds, 9% of whites, 16% of blacks, 21% of Hispanics and 31% of Asians married someone whose race or ethnicity was different than their own. While she believes assimilation and acculturation will accelerate in the years ahead, GlobalHues Ms. Tita-Reid doesnt see that as rendering multicultural shops obsolete. In fact, she sees it as a reason they should increasingly lead marketing efforts. Its even more important for people to get cultural insights across regions and generations, she said. The general market, she said, is an increasingly multicultural market. LOAD-DATE: October 14, 2010

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Advertising Age October 11, 2010 WILL CALLING ON VERIZON BRING STALLED IPHONE SALES UP AGAIN?; As smartphones market share hits a ceiling, Apple could benefit from partnering with largest carrier BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 560 words

For years the iPhone has been indefatigable, gobbling up mobile market share and rocketing AT&T into the smartphone lead among carriers. But the Apple platform has leveled off recently with about a one-quarter share of the U.S. smartphone market for the three months ending in August, per ComScore, and its archrival Android is making fast gains. Can Verizon, rumored to start offering the iPhone next year, return it to growth? When youre tapped out, the next obvious question is: Where do we go from here? said Ramon Llamas, IDC senior analyst on mobile devices. But do all roads lead to Verizon? For now, yes, according to a Wall Street Journal report that has the phone moving onto Verizons platform sometime next year. And there are plenty of reasons why Apple needs another carrier partner now more than ever. For one, Apple is hearing fast-growing Androids footsteps, as has AT&T; the carrier has watched Verizon, which has heavily pushed Android phones, slowly gain on its once-substantial lead in

smartphones since the beginning of the year. Googles mobile software continues to pick up percentage points every three months. It was also the best-selling smartphone platform over the past six months while Apple was second, neck-and-neck with BlackBerry, according to Nielsen. If iPhone will indeed be available to consumers on Verizon by early next year, it marks Apples first step toward an all-carrier strategy like BlackBerry or Android. To be at Verizon-the No. 1 carrier-for anybody, theres a lot of potential and opportunity, said Mr. Llamas. Both Verizon and Apple are notoriously controlling, the latter exerting tight control over the entire iPhone ecosystem, from the operating system and third-party applications to advertising and the device itself. Verizon controls everything about the handsets-what manufacturers make, what features to have, how itll work, said telecom industry analyst Jeff Kagan. That contrasts sharply with AT&T, which jumped right on it and basically had to give Apple free rein. If you want to play at Verizon, you have to operate by Verizons rules, added Mr. Llamas, who is skeptical well see iPhone on that carrier in January. With iPhone, Verizon could become the U.S. smartphone leader, a title now held by AT&T, at 38% market share. (Second-place Verizon has almost 27%) The internet-phone category represents the future for cell-service providers-Nielsen predicts smartphones will overtake more basic feature phones in the U.S. in 2011. While Verizon is the bigger U.S. carrier and gaining ground in smartphones, it lags behind AT&T in the segment largely thanks to the iPhone. So where does that leave AT&T? AT&T continues to take bets on new devices to keep that smartphone lead. Research in Motion launched its touchscreen BlackBerry Torch exclusively on AT&T, and while its not the exclusive carrier, AT&T will also be the lead mobile operator and co-marketing partner for the U.S. for the new Windows Phone. The question is whether those bets pay out as big as iPhone did. Early reports signal Torch sales have not met expectations, while Microsoft faces the challenges of zero-consumer mindshare and devices that dont look anything like app-centric iPhone or Android. Microsoft plans to combat its hurdles with sustained and competitive marketing this fall, which could prove a win for AT&T, too. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Beer: a universal language with many dialects; From national pride in the former Soviet bloc to masculinity in Africa, SABMiller caters to local markets BYLINE: E.J. SCHULTZ; EJSCHULTZ@ADAGE.COM SECTION: Pg. 30 Vol. 81 LENGTH: 412 words

SabMiller has embarked upon a local-market strategy to custom-tailor its messaging in countries around the world. As such, its spent a lot of time studying the traditions, culture and attitudes of consumers in the countries it sells beer and has discovered that what works in one area might not work somewhere else. The brewer shared these consumer insights with Ad Age on 10 of its markets: ECUADOR Ecuadorians have a very highly developed sense of community. Incan gods still play an important role in the countrys many fiestas along with Catholic iconography and celebrations such as Corpus Christi. PERU Peruvians draw a huge sense of pride from their ancient ancestors, and the Inca civilization continues to be a tangible and visible part of the country. COLOMBIA Geographically isolated communities lead to regional cultural differences. In Antioquia, locals call themselves Paisas, or peasants, and are fiercely proud of their rugged, humble origins. GHANA Masculinity is linked to taking care of family and community. Being a man is perceived as both a

source of great pride and heavy responsibility. Providing for family is the most important role a man can perform. SOUTH AFRICA Historically, masculinity in this market was defined by economic hardship and the struggle. But today men seek fulfillment that goes beyond simply earning a wage, including self-expression through work. VIETNAM Vietnamese do not seek to be defined by their history but rather are defined by their future, with a strong sense of optimism and pride in the countrys progress. RUSSIA Premium beer is still relatively new to Russia, and the market is very innovation-driven. Consumers expect premium beer brands to deliver something new on a cyclical basis. Failure to innovate (especially in packaging) can have a significant negative impact on your brand. ROMANIA The harsh conditions experienced under Ceausescus communist regime reinforced a strong sense of community. Post-communism, this manifests itself in nostalgia for old-fashioned values and a simpler way of life. SLOVAKIA Residents in this region have a well-defined cultural identity. Life should be lived full throttle, extending to every aspect of life: celebration, work responsibility, love affairs, friendship, hate, envy and even worship. POLAND The turbulent history has been devastating to the national psyche, and Poles struggle to feel positive about their national identity, leading them to seek affirmation and proof of success. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Will ad industrys opt-out program entice consumers?; Early data indicate advertisers may have less to fear BYLINE: EDMUND LEE; elee@adage.com SECTION: Pg. 2 Vol. 81 LENGTH: 644 words

Last week, a sweeping coalition of advertising industry groups announced an ambitious selfregulation policy that would allow internet users to opt out of being tracked through the use of a new icon that will sit on every ad. It may be the most comprehensive opt-out program available. But is it something consumers want? Itll be hard to tell until its up and running en masse. But according to the most recently available data from Network Advertising Initiative, which has had an opt-out mechanism for over a decade and is a key member of this new coalition, 1 million people visited its opt-out page in 2009 and 300,000 people actually unsubscribed. NAI members include advertising networks and data exchanges such as Advertising.com and BlueKai. Technology company Better Advertising, which won the initial contract to supply agencies and marketers with the opt-out technology, has already been providing do-not-track solutions to major online advertisers like AT&T. According to data from Better, which launched its program in July, of the several billion ad impressions theyve served so far, less than 0.02% of users have opted out of being tracked. Its still early days, so you dont want to read too much into those numbers yet, but it is very low, said CEO Scott Meyer. This sets the stage for what were studying next: how does being transparent affect your brand favorability? But some consumer experts say the current opt-out notifications havent done a fair job of characterizing how advertisers view the data they collect, which has been a point of concern for the

FTC. These notices dont say things like, We know youre a woman who is most likely looking for shoes, said Joseph Turow, a professor at the University of Pennsylvanias Annenberg School for Communication who testified before the Senate Commerce Committee on digital privacy this past summer. A study conducted by Mr. Turow, along with Princeton Survey Research Associates International, found that 66% of people said they did not want online ads tailored to their interests. But when respondents were told how they would be tracked online to generate the advertising, as much as 84% said they did not want tailored advertising. Mr. Turow said that discrepancy highlighted the fact that, despite online privacy notices, many consumers didnt understand how tracking worked. The study further showed that even if consumers were not concerned over their privacy, they may not trust a third party to cultivate information relevant to them. The online ad industry has been aggressively maneuvering to solve the issue of online privacy as part of its efforts to maintain self-regulation over its $24 billion industry. The coalition, which bills itself as the Digital Advertising Alliance, lets any advertiser sign up for the self-policing program. The Council of Better Business Bureaus will be responsible for monitoring participating advertisers. While the FTC has not said it would regulate online marketers, such a circumstance could be a possibility if the industry doesnt successfully prove it is serving the privacy interests of online consumers. Stuart P. Ingis, partner at Washington law firm Venable and counsel for the Direct Marketing Association, said the coalition is responding to the governments main concern with regard to notification, which is offering information to the consumer as soon as the ad is present. Thats the whole reason we have an icon, Mr. Ingis said. It will take some time to educate consumers as to what the icon means, but we believe this fully responds to concerns of being clear. The coalition is composed of the Interactive Advertising Bureau, the American Association of Advertising Agencies, the American Advertising Federation, the Association of National Advertisers, the Direct Marketing Association and Network Advertising Initiative. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 GET READY TO CHALLENGE YOUR ASSUMPTIONS BYLINE: Judann Pollack SECTION: Pg. 1 Vol. 81 LENGTH: 336 words

Putting together this issue has been both a labor of love and an education. So much attention is paid to the landmark shifts in the media world that its easy to lose sight of the radical changes occurring in consumer behavior. What we found in researching consumers has yielded a treasure trove of valuable information for todays marketing professional, and enough stunning facts to keep your Twitter feeds buzzing for weeks. Just a sampling: Almost one-third of homebuyers are single; 6 million U.S. children are being raised by committed same-sex couples; single childless women in major cities now outearn their male counterparts; and nearly half of baby boomers age 50 to 64 use social media. In this issue, Matt Carmichael explores the influence of affluents; Jack Neff takes on some male myths; Natalie Zmuda looks at moms-some older, and some not female; Thomas Pardee explains why millennials can be a prickly lot to target; Beth Snyder Bulik busts the notion that boomers are Luddites; E.J. Schultz gives his take on the new single; and Bradley Johnson tells marketers how to win the hearts of gays. Want more? Bill Imada offers tips on how to target Asian-Americans, a segment that by 2014 will wield more than $700 billion in spending power; Irina Slutsky explains how the urban trope misses many other important consumer segments within the African-American audience; and we introduce the Leap Index, which tracks the brands to which consumers are most attached. Theres also a story from Rupal Parekh on how marketers are addressing the growing prevalence of food allergies among Americans; a piece by E.J. Schultz on what SABMiller has learned about messaging consumers around the world; and an essay from Matthew Creamer on customer service, delivered in his own signature style. All this, plus our Hispanic Creative Awards Report. As journalists, were certain you will value this issue as an important reference, but we hope you will also enjoy reading it. After all, its for you. We are all consumers.

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Advertising Age October 11, 2010 TWEET THIS: FAST FACTS ABOUT SHIFTING WORLD BYLINE: MATT CARMICHAEL SECTION: Pg. 1 Vol. 81 LENGTH: 275 words

Think you know the American consumer? You might be surprised at some revealing trends. Ad Age combed many data sources to come up with seven interesting facts. 1) ONLY ONE IN FIVE NEW HOUSEHOLDS IN THE U.S. IN 2009 WERE NON-HISPANIC WHITES. Twenty-three metro areas already have more Hispanics than whites. (Census Bureau) 2) THE FASTEST-GROWING CITIES? Youd guess California, Florida and Texas and youd be right. But would you suspect that North and South Carolina and Utah would be next? (ACS) 3) THERE ARE FEWER PEOPLE LIVING ALONE. And the recession helped lead to a striking 14% increase in non-married couples living together.

(Census Bureau) 4) WOMEN AGED 25-39 NOW MAKE UP 46% OF THOSE EARNING BACHELORS DEGREES IN SCIENCE AND ENGINEERING. UNDERGRADUATE BUSINESS DEGREES ARE ALSO ALMOST EVENLY SPLIT BETWEEN MEN AND WOMEN. (CENSUS BUREAU) 5) MARRIED COUPLES WITH KIDS ARE THE BIGGEST EARNERS AND SPENDERS. This group had the largest per-household income growth in the last three decades, but their numbers are at the lowest point in history, dropping below 50% of all households. The number of households with no children is at an all-time high of 70.5%. (Census Bureau) 6) DURING THIS DECADE, THE MILLENNIALS WILL HIT THEIR STRIDE ECONOMICALLY. They outnumber the boomers, and as they move into their 30s and 40s, they will drive the economy. (Kotkin/ACS) 7) DEMOGRAPHICS OF MOMMYHOOD HAVE SHIFTED IN LAST 20 YEARS. Teen births are down to just 10%, less than the number of births for women aged 35 and older (14%). Four in 10 kids are born to single moms. 24% of births are to Hispanic moms, up 10% from 1990. Births to white women have dropped 12%. (CDC) LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Offline vs. online, service is game of telephone; While many marketers are adept at using social media, consumers are experiencing a conversational divide with traditional interactions

BYLINE: MATTHEW CREAMER SECTION: Pg. 46 Vol. 81 LENGTH: 1554 words

Somewhere, deep in Time Warner Cables vast computer records, in a file that tracks my account, I wouldnt be surprised to find words like angry, belligerent or drunk and rageful. There would be few other ways to describe the final anguished phone conversation I had with a few unhelpful company representatives following a prolonged internet outage in August that upset my delicate domestic rhythms. A call that started in a state of medium dudgeon ended in fury, when the rep-the third I talked to, as I recall -rushed through a script that seemed devised as a way to get the embittered and self-aggrandizing off the line and then hung up. Which is probably what should happen when you go around saying things like You do realize that Im kind of a big deal on Twitter? Good thing I had an ally within the company, known only to me as BH. BH, one of the humans behind the companys Twitter account, had already reached out to me after an earlier complaining tweet. After I sent over my account information, BH quickly updated me on the status of the outage. But after a woeful phone runaround, I fired off a direct message that described the situation and my demands: mainly, a technician at my apartment within two days, not the following week as was being offered. The response was exhilarating: We have escalated this. You should receive a call from client relations today. Sorry for the aggravation.<BH Escalation! A glitchy modem in New Yorks East Village had suddenly taken on all the urgency of a Cold War-era brush fire. But instead of it being me vs. them, it was me vs. them vs. them. And in the end, I, I mean we-me and the Twitter people-won. After I described the situation to Pete Blackshaw, CMO at Nielsen-McKinsey Incite and an expert in customer service, he echoed my sense of a company being at war with itself: You experienced two different companies. Why should I, or any consumer, have one kind of experience on the phone and an entirely different kind online? Why does a customer willing to deal with his complaint in private end up being compelled to take it public? Are companies, as they are drawn to exciting new mediums giving short shrift to the old ones, like phones, where a lot of consumer experiences are still made or broken? Over the past few years, companies have invested heavily in human and technological resources that allow them to better listen to what people are saying about them online. And many have gotten quite good at using social channels like Twitter or Facebook to quell complaints or, on the flipside, amplify the nice things that people have to say about their brands. But savvy as many brands have gotten online, offline customer service remains a different story, as my experience with my cable provider attests. Mr. Blackshaw calls this the conversational divide. Marketers have jumped headlong into social

media, while consumer-affairs departments-which manage things like call centers that field phoned-in complaints-are having trouble keeping up. He added: I frankly think the most important social media task for todays CMO is to bridge the divide. Its not as exciting as only hanging out on Twitter or Facebook, but urgent for maintaining credibility with consumers. Perversely, an interaction with a live human sitting somewhere in a phone bank feels more dehumanizing than communicating with a faceless person known only, if at all, through some digital avatar. That effect has something to do with the corporate expectations of call centers and the people who man them. Consider this excerpt from a white paper from a consultancy called Inova Solutions offering advice on how call centers could survive the downturn: Many call-center agents cite a reason for poor morale is the relatively low level of independence granted to them and a high level of monitoring by managers. In response to this problem, one international bank I worked with decided to minimize the micromanagement effect by giving agents access to real-time queue metrics on a wallboard. This eliminated much of the aisle patrolling done by managers and allowed agents to make their own tactical judgments based on queue statistics. Agents felt less like managers were always looking over their shoulder and managers had more free time to focus on strategic initiatives. It was a win-win. Evident here is a bit of vestigial Fordism youre unlikely to see elsewhere in a marketing universe that, relative to an almost penal-sounding environment where patrolling is still a management technique, is generally less process-obsessed and prizes independence and creativity (again, relatively speaking). Assembly-line workers dont exist to talk to consumers; call-center reps do. In my Time Warner experience, the reps I dealt with seemed like slaves to schedules and policies and processes they had no control over and no desire to impact. The social-media experience, on the other hand, was all about fixing the problem I was facing-making things happen. Companies have looked at call centers as cost centers, said David Alston, CMO of Radian6, a popular platform that allows companies to monitor social-media chatter. How can I get people on and off the phone? But social media and listening and engaging is about building an asset of customer that love you and will stay with you. Companies that are finding ways to bridge the two are seeing positive results. John Kembel, VPsocial experience at Right Now, a consumer-experience company, told me about client Drugstore.coms success in moving people from Twitter to individualized chats. In those scenarios, shopping-cart sizes are up 10% to 20%, conversion increases from 6% to 24%, phone-handle time has dropped 15% and email volume is down 30%. While neither Mr. Kembel nor Mr. Alston would say that the goal is to drive customers online, both said that empowering consumers is key. Theres a trend of equipping consumers to help themselves and to help each other, said Mr. Kembel. That spreads across interaction touchpoints, whether its web or chat on Twitter or phone. The mix depends on the company and the consumer. Last week, I phoned up Alex Dudley, VP-public relations at Time Warner Cable, in order to understand how the company views my experience. In addition to being immediately responsive, Mr. Dudley was helpful and forthcoming - not what I expected given some of the hell that cable

companies have been put through by journalists writing about personal frustrations with cable companies, chief among them former Ad Age critic Bob Garfield, in his Comcast Must Die piece. Turns out that my friend BH is one of four people working on an online customer-care team out of an office in Buffalo that, among other duties, manages the companys various Twitter feeds. It wasnt always this way. Initially, Twitter was seen as a PR tool, used by Mr. Dudley and other company executives for distributing high-level information about the company. They quickly saw, however, that customers were using Twitter as a means of looking for help. Its important that the team isnt part of PR, as I thought it might be. The sheer volume of online feedback that companies are struggling to manage has blurred the roles of PR, marketing and customer service. In an email exchange, Frank Eliason, famous in marketing circles for handling the fallout of Comcast Must Die and who recently moved to Citigroup, said that running service from PR or marketing is a no-no. Many companies think they are integrating social media and customer service, but from my perspective this is not as strong as it should be, he wrote. First, many are running the service portion from PR or marketing and not directly from customer service. You will not be able to integrate what you learn if you do not fully understand the operations aspect of customer service. Companies are struggling with means to take what they learn and create real-time, actionable intelligence. Time Warner Cable isnt guilty of this mistake. The online customer-care team has access to customer account information; Mr. Dudley, for example, doesnt. So when I asked him if the size of my Twitter following or the fact that Im a journalist affected my position in line, he said it didnt. A customer is a customer. As Ive watched the team interact with other customers, Ive found that to be totally believable. And, as he praised the online team, Mr. Dudley defended the phone reps. Its hard to hold them to the same deliverables, because the job is different. When they pick up the phone, theres an incredible variety of issues they face. Most consumers, however, wont make that distinction or give one company representative the benefit of the doubt over another based on the medium he or she works in. I asked Mr. Dudley if he could see a day where theres enough synchronization between the call centers and the online monitors that my angry tweet, the moment when a private annoyance threatens to become very public, wouldnt be necessary. Or, I asked, are you just going to have to take your hits and then react? He paused for a beat and then explained that what he hopes to see is roughly the kind of treatment I got online, when I was engaged through Twitter. We dont pretend there arent service issues, he said. Were comfortable with that. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 11, 2010 Market for food-allergy-friendly businesses more than peanuts; From the Chicago Cubs to Red Lobster, marketers are finding that extra effort for customers with dietary restrictions can help build brand loyalty and sales BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 32 Vol. 81 LENGTH: 1075 words

This past June, Joyce Davis, along with her husband and two kids, planned an outing to Wrigley Field to see their hometown favorite, the Cubs. As always, they toted along a special emergency kit for 10year old Julia, whos grappled with a severe peanut allergy since she was a toddler. Like any other game, we were prepared; we wiped down the seats just to be sure, but that day everyone around us was eating them, said Ms. Davis, recalling the nervousness she felt for her child. There were peanut shells flying everywhere, and those particles must have gotten in the air. It was barely 15 minutes into the game before Julia starting getting itchy and broke out in hives. If they stuck around, she could have gone into anaphylactic shock, Ms. Davis said, but she didnt want to leave; it was Fathers Day, and [she] was sad [her allergy] was wrecking our whole outing, but we said no, your safety comes first. To perk up little Julia, mom and daughter started a Facebook page called Chicago Cubs Fans for Peanut Free Baseball. It built up a small but fervent fanbase, which quickly grabbed the teams attention. Within weeks, Wrigley Field announced its first-ever game with a peanut-safe zone-a skybox equipped with medicine, non-allergen snacks and a nurse on hand. It wasnt just a feel-good moment; Wrigley Stadium benefitted, with a waiting list of more than a hundred families willing to pay as much as $50 a pop for peanut-free-zone tickets. Said Ms. Davis:

Strictly from a business perspective, it makes so much sense because you have people willing to pay more to be 100% sure. Catering to customers with food allergies or intolerances such as celiac disease is something a range of businesses-including restaurant chains, packaged-food marketers and airlines-increasingly need to consider as part of their marketing strategies. According to the Centers for Disease Control, an estimated 4% of the U.S. population, or 12 million Americans, currently has food allergies or intolerances, the majority of them children. And its a population thats growing fast. In the past decade, its numbers have jumped 18% (see box). Its tough to argue that food allergy is not increasing, said Chris Weiss, VP-advocacy and government relations for nonprofit organization Food Allergy and Anaphylaxis Network. Theres no clear-cut consensus as to why, but there are a couple of theories floating around, the most predominant being the hygiene hypothesis. He explained that, under this theory, our environment has become more sterilized, and our immune systems are somehow adapting to a cleaner environment, and part of that includes adversely reacting to certain food proteins we didnt 20 or 30 years ago. The bad news? There is no cure for food allergies. The good news is were definitely seeing more supermarkets, food companies and restaurants catering to food allergies and food intolerances, Mr. Weiss said. Packaged-foods companies such as General Mills, perhaps driven by reports such as a recent one by Datamonitor that states the global gluten-free market will reach $4.3 billion over the next five years, are expanding gluten-free lines on brands like Bisquick and Hamburger Helper. Anheuser-Busch even has a gluten-free beer called RedBridge. Last month, Darden Restaurants announced that its Red Lobster restaurants will nationally roll out an allergy menu that charts dishes made using the eight major allergens: soy, milk, fish, shellfish, eggs, wheat, peanuts and tree nuts. P.F. Changs, one of the earliest to the trend, recently expanded its gluten-free menu-a common topic of conversation among its more than 100,000 Facebook fans. And other casual dining chains, such as Outback Steakhouse and Chilis, are posting allergen information on their websites. On the flip side, restaurants that arent taking food-allergy precautions are being called out on websites such as Allerdine.com, where customers grade restaurants on the basis of an allergyfriendly kitchen layout and their willingness to prepare a custom meal. Tech tools are cropping up too, like iPhone app iCanEatOntheGo, which allows users to tailor the app to their specific conditions and then see which quick-service restaurants are safe, and Foodcontentalerts, a website created by ad agency Taxi. Restaurants have come a long way over the past decade, said FAANs Mr. Weiss. But, ideally, restaurant staff would understand that food allergy is something to be taken seriously and if they are not confident they can serve a safe meal, then they shouldnt take any risk. To ease the process, FAAN is putting the finishing touches on a 20-minute training DVD featuring celebrity chef and star of the Food Networks Next Iron Chef Ming Tsai.

Mr. Tsai has become one of the most-visible advocates for people with food allergies and intolerances, a cause hes passionate about since his son grew up with seven out of eight of the most common food allergies. Training is paramount, Mr. Tsai told Ad Age. The biggest error in any kitchen-manufacturer or restaurant-is contamination. When you go to a restaurant and your kid can die, youre very apprehensive. You want to ease the tension parents are having, he said. It costs a little bit in terms of time to train staff, but at the end of the day, if youre smart about it, youll do more business. And if you do it well, youre going to help your bottom line. Another reason why its probably a good idea to get up to speed sooner than later: It might eventually wind up being required by federal law. Earlier this year, Mr. Tsai wrote and successfully lobbied for the passage of a bill in Massachusetts that mandates standard food-service courses to include the viewing of an approved food-allergy video, and requires the states Department of Public Health to develop a program for restaurants to be designated as Food Allergy Friendly and to maintain a listing of restaurants receiving such a designation on its website. Still, for now, some companies are sticking to their guns. While airlines such as American, Continental and United have switched to pretzels, Delta, Alaska Airlines-and, of course, Southwestcontinue to serve peanuts. This is something thats not going away, and if you dont adjust to this new demand for allergenfriendly food, youre going to miss the boat, said Mr. Tsai. But, if you make the effort now, you can build the most loyal customer base in the world. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010

Logo-change hoopla boils down to perception Gap; While critics and bloggers panned retailers new design, study finds consumers werent even aware of the change BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 648 words

A week ago, Gap unceremoniously unveiled a new logo on its North American e-commerce site. Several design blogs took notice and began picking apart the design. From there, Twitter, Facebook and the blogosphere lit up. But, with the exception of Gaps own Facebook page and a few articles in consumer publications like Time and Forbes, the debate largely seemed to be raging in design and marketing circles-the chatter skewered the font, Helvetica, and gradiated blue box. The most popular parody account on Twitter, @gaplogo (with more than 3,800 followers at the time of this writing) was peppered with insider references to Peter Arnell and Mad Men. By Friday, the debate had certainly crossed into consumer-media territory, with OK magazine asking, Does the icon matter to you? NPR, New York Daily News, Washington Post and various local TV stations also jumped into the fray. With all the hoopla in media and marketing circles surrounding the logo, we couldnt help but wonder: Do consumers actually know theres a new logo? Do they care? Last Thursday, three days after Gap unveiled the logo, Ad Age asked Ipsos Observer to take the pulse of consumers on the issue. The independent research company polled consumers overnight Thursday, garnering just over 1,000 responses by 10 a.m. Friday. All told, just 17% of consumers were even aware Gap had changed its logo-some 80% said they had no idea the logo had changed (the remaining 3% said they didnt know what Gap was). Given that, it seems Gap may have had a knee-jerk reaction to the fracas, when on Wednesday night it announced on its Facebook page that it would like to see other ideas. The retailer said it would be launching a crowdsourcing project, though no details on that project had been revealed as of press time. Louise Callagy, a Gap spokeswoman, told Ad Age that the retailer decided it would solicit additional ideas, given the largely negative response to the new logo. Its impressive, the passionate outpouring from customers, Ms. Callagy said. Were ready to open it up, take the feedback on board and work together. Maybe Gap should have done that from the very beginning. More than half of consumers in the Ipsos Observer poll said they expect companies to ask for the publics input before making a major change to its logo, packaging or product. Thirty-six percent said they didnt expect that, while 12% werent sure.

In the last two years, there have certainly been some notable missteps in the logo and packaging departments at major marketers. Tropicana unveiled a new logo and packaging design in early 2009 and was forced to scrap the changes less than two months later amid consumer outcry and falling sales-hence the Twitter references to the principal at Arnell Group, which did the design. And, just last week, SunChips said it would stop using biodegradable bags for the bulk of its products after consumers complained the bags were too noisy. Sales of the chips had been declining for months. So perhaps Gap could have avoided the entire debacle had it consulted with consumers first. Because, whether they knew about the logo change or not, once consumers in the poll saw the new logo, most didnt like it. More than 60% of consumers said they preferred the old logo, while 37% preferred the new logo. That could prove problematic for Gap, which plans to use the new logo in its upcoming holiday campaign. Twenty-nine percent of consumers said their decision to purchase a companys product would be influenced by a new company logo, while 43% said it would not. The remaining 28% were unsure. While 29% might be a minority, its expected to be another competitive holiday season. And, with Gaps sales already soft-it reported sales at stores open at least a year fell 1% in September-the retailer cant afford to have anyone shopping the competition because of something as incidental as a logo. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Why (and how) you should go after the gay dollar; Marketers get high grades for LGBT equality, giving them credibility to pursue this brand-loyal group

BYLINE: BRADLEY JOHNSON; bjohnson@adage.com SECTION: Pg. 22 Vol. 81 LENGTH: 1267 words

A record 337 businesses scored a perfect 100 on the Human Rights Campaigns Corporate Equality Index 2011, which rates workplaces on LGBT equality. Among Ad Ages 100 Leading National Advertisers, the average score in HRCs report was a strong 86, and more than half of the 100 LNA had a perfect score. Hows a lesbian, gay, bisexual or transgender consumer supposed to choose among so many friends? Heres a perspective on brands and marketers from one gay consumer. First, a disclaimer: I make no claims to being qualified to speak for LGBT consumers. I never received my copy of the homosexual agenda. My good gay colleague Kevin had to remind me that today is National Coming Out Day. But I have spent my adult life writing about brands and marketing at Ad Age and, in my off hours, being a gay consumer. Given a choice, Id rather spend money with companies that help, rather than hurt, my community. How do companies get on, and off, my shopping list? For me, a good starting point is a solid rating from HRC, a prominent LGBT civil-rights organization. I then look for other cues to help narrow the list of marketers deserving of my gay dollar. Here are five steps marketers can take to make my brand-consideration set.

1. DONT BE A HYPOCRITE
My partner Kurt and I used to be big Target shoppers: decent prices, style on the cheap, progressive corporate image. But then Target blew its goodwill by 1) donating money to a stridently anti-gay politician and 2) offering a lame well-get-back-to-you response when equality proponents protested. Targets CEO promised a strategic review and analysis of our decision-making process for financial contributions in the public policy arena and said Target will take a leadership role in bringing together a group of companies and partner organizations for a dialogue focused on diversity and inclusion in the workplace, including GLBT issues. Because of its blundered actions, Target lost its till-now perfect HRC score. HRC this month said Target hasnt taken any corrective steps to mend its relationship with the LGBT community. Nice job, Target, you just lost the gay market.

2. STAND UP FOR CIVIL RIGHTS


I look for companies and brands that stand up for my constitutional rights and support my community. HRC, for example, lists three dozen national corporate sponsors, from American Airlines to Waste Management. American Airlines is an omnipresent supporter of pro-equality groups, giving it credibility to go after gay travel dollars. (Check out www.aa.com/rainbow.) Waste Management? LGBT support meshes neatly with the trash haulers efforts to position itself as a green, progressive company-part of the solution, not the problem. Campbell Soup Co., Kellogg Co. and Johnson & Johnson are among the national corporate sponsors of Parents, Families and Friends of Lesbians and Gays (PFLAG), a group long-revered in the LGBT community. AT&T, Bank of America and Comcast Corp. are sponsors of Equality California, an equal-rights group. AT&T and Wells Fargo are national corporate partners of Trevor Project, an organization focused on crisis and suicide-prevention efforts for LGBT and questioning youth.

3. ADVERTISE IN GAY MEDIA


Nearly 20 years ago, I wrote about The Advocates breakthrough meetings with Saab and Sheraton, the first time the magazine has won an audience with car or hotel companies. Big brand ads are now routine. Last week, I saw ads on Advocate.com for American Express, AT&T, Cadillac, Southwest Airlines-and Saab. Advertising in gay media is less of a statement than, say, sponsoring an equality group. But ads get noticed-particularly when they have strong LGBT themes. Warning: Dont advertise if your company has a lousy record on equality. Your brand could get slammed if someone in the LGBT community connects the dots.

4. BE SO GOOD THEY SAY YOURE BAD


I pay extra attention when a pro-equality company merits an Action Alert from American Family Association. Last July, the anti-gay group announced: AFA makes it official. Dont shop at The Home Depot. What did Home Depot do? Home Depot sanctions its very own homosexual employee group, said AFA, supports diversity-oriented organizations and sets up Kids Workshops at gay-pride-festival events. AFA said the retailer offers full health-insurance benefits to gay employees and their partners. Home Depot even responded to an annual survey by the Human Rights Campaign. Now, Home Depot isnt perfect; HRC scored it 85 out of 100. But thats a solid grade (and it beats Lowes failing grade of 30). After AFA issued its stellar endorsement, Kurt and I made a special trip to Home Depot. Well keep spending money there (as long as Home Depot continues to embrace diversity and keeps doing the right thing, one of its stated core values). 5. DO THE RIGHT THING WHEN NO ONE IS LOOKING At a West Hollywood rally on the day that Californias gay marriage ban was ruled unconstitutional, one speaker said his children couldnt be at this celebration because they were visiting grandparents on the East Coast. He mentioned as an aside that American Airlines Rainbow Team had stepped in with an offer to fly the kids home. That drew huge applause. When was the last time your brand received a standing ovation? WHERE TO START If you want to connect with gay consumers, where to start? First, see where your company ranks on the HRC index (www.hrc.org/cei), which rates American workplaces on LGBT equality. If youre not ranked, contact HRC (cei@hrc.org) to see how you can get your company listed in its next report. Next, ask your human-resources department if the company has an LGBT employee group. Your lesbian and gay colleagues can offer candid advice on where your brands fit in with the LGBT market. Theres an excellent chance that your company gets high marks for equality. HRC rated 88 of Ad Ages 100 Leading National Advertisers. Average (mean) score: 86. Indeed, 55 of Ad Ages 100 LNA earned a perfect score. If your company has a good story to tell, by all means make a play for the gay dollar. Gay consumers are both brand-conscious and brand-loyal, and they-we-are open to hearing your pitch. But remember that you need a winning product. Bank of Americas involvement in the LGBT community doesnt overcome the bad customer service that prompted my partner and me to ditch our BofA credit cards. Likewise, I respect American Airlines savvy LGBT marketing, but I think its in-flight service is just

average-nothing special in the air. I prefer to fly Southwest because I like its low fares, no-frills style and corporate culture. (Southwest scores 95 on HRC, supports Gay & Lesbian Alliance Against Defamation and advertises in gay media.) And then theres Sears Holdings Corp. As a journalist, I watched the fall of Sears (once the nations largest retailer) and the rise and fall of Kmart. A year before the companies merged in 2005, I wrote an essay arguing for that merger. I want to believe in the company, which scores 100 from HRC. So when Kurt and I stopped shopping at Target, we paid our first visit in years to the local Kmart. What a letdown. The aging store was dingy and depressing. It looked like Sears Holdings Chairman Edward Lampert had not bothered to invest a dime in that store. I applaud Sears Holdings stated belief that diversity is a business imperative. At the companys website, I learned that its gay employee group intends to work with multicultural marketing to develop a targeted marketing test to a segment of the GLBT consumer community. But none of that matters if you have a second-rate product. Kmart wont be the new gay-mart. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 MAIN JURY SECTION: Pg. 45 Vol. 81 LENGTH: 128 words

ICARO DORIA JURY PRESIDENT AND GROUP CREATIVE DIRECTOR GOODBY, SILVERSTEIN & PARTNERS CURRO CHOZAS ASSOCIATE CREATIVE DIRECTOR, GRUPO GALLEGOS AND PRESIDENT OF CIRCULO CREATIVO CARLOS TORNELL VP-CREATIVE DIRECTOR BRAVO GROUP MARIA BERNAL ASSOCIATE CREATIVE DIRECTOR LAPIZ NORBI ZYLBERBERG VP, GROUP CREATIVE DIRECTOR LATINWORKS KATHLEEN HALEY DIRECTOR, MULTICULTURAL MARKETING HEWLETT-PACKARD DANIEL MARRERO FOUNDER AND CREATIVE DIRECTOR CREATIVE ON DEMAND INTERACTIVE AND DIRECT JURIES: CHIQUI CARTAGENA SENIOR VP-MULTICULTURAL MARKETING STORY WORLDWIDE ALBERTO FERRER MANAGING PARTNER-DIRECTOR OF DIRECT AND DIGITAL MARKETING THE VIDAL PARTNERSHIP GUSTAVO GARCIA EXECUTIVE CREATIVE DIRECTOR MEDIA 8 DIGITAL MARKETING VINCE ANDALORO PRESIDENT-CEO LATIN-PAK HISPANIC DIRECT MARKETING LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010

BEST OF SHOW BYLINE: LAUREL WENTZ SECTION: Pg. 38 Vol. 81 LENGTH: 561 words

THE RADIO SPOT BATALLA PROCTER & GAMBLES BOUNTY: BATALLA AGENCY: LAPIZ, CHICAGO Marketing challenge: Lapiz had to bring to life the paper towel brands tagline For the cleaning battles in the kitchen, choose Bounty, in a radio spot. Creative solution: The creative team imagined a real battle, fought by foods that cause messy spills and whose names can be pronounced or chanted to mimic soldiers marching, artillery fire and soaring aircraft. The spot opens with the word flan, flan, flan sounding like marching feet, followed by a Piiiizaaaa bomb whizzing by and then the staccato taco, taco, taco of a helicopter. Before taping the radio commercial in Buenos Aires, Lapiz compiled three different lists: battle sounds, names in Spanish of foods found in the kitchen and grocery store aisles, and possible messy spills. We combined all the lists to find the best words to record, said Lapiz Associate Creative Director Maria Bernal. They drew inspiration from the way sounds are used in video games, a field Ms. Bernals husband works in. Then they looked for people who could replicate the sounds they envisioned, like sputtering the word aceite (oil) to suggest machine gun fire. Its about winning the war against spills, Ms. Bernal said. Back in Chicago, the Lapiz team made new lists to create an English-language version for bilingual Hispanic radio stations. A few of the words worked in both languages, such as ketchup and pizza, but most were new, with jam replacing the marching feet of flan and the addition of the rat-a-tat-tat of ratatouille. (The English-language version Battle won two Gold awards at this years Cannes Lions International Advertising Festival). The Best of Show debate came down to Batalla and the Cine Las Americas work that the judges loved so much that the campaign for the Latin film festival in Austin garnered seven awards, including

four Gold prizes, in four different categories. As true theater of the mind, Batalla won the battle, with extra kudos for working in a product category that doesnt inspire a lot of breakthrough creative, and a medium that is also not the easiest but holds special relevance for Hispanics. Its a very fresh idea, with the power to please an awards jury and my grandmother, one of those ads you love whether you know anything about advertising or not, said one of this years judges, Curro Chozas, a creative director at Grupo Gallegos and president of the Hispanic creatives group Circulo Creativo. In addition to impeccable production, its one of those ideas that you feel someone must have thought of before because it seems so simple [but] its the kind of work that awakens healthy, and not so healthy, envy among other creatives. Whats next? A current Bounty radio spot plays with the idea of a song that you cant get out of your head. The song is about guacamole. If a super sticky Bounty song sticks in your head, imagine how well it will work on something like guacamole that sticks to your counter, Ms. Bernal said. That inspired the Lapiz team to transform Bounty the Guacamole into a silly but catchy music video, with two girls in Bounty-colored green and orange outfits singing and dancing to the guacamole song with a Latin fusion beat. They accompany the star, a squat, singing dachshund with bling around his neck in the form of a big B for Bounty. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 HISPANIC CREATIVE ADVERTISING AWARDS; For Ad Ages 12th annual awards honoring the

best in Hispanic marketing, a Bounty radio spot takes top prize, prevailing for its originality and earning extra points for creating theater of the mind BYLINE: LAUREL WENTZ; LWENTZ@ADAGE.COM SECTION: Pg. 36 Vol. 81 LENGTH: 1246 words

No one understands the U.S. Hispanic consumer better-or with more creative advertising-than Procter & Gamble. The biggest advertiser to Hispanics was also one of the biggest winners at Ad Ages 12th annual Hispanic Creative Advertising Awards, taking home the Best of Show trophy for a Bounty paper-towel commercial that identifies with the battle people fight against messy spills for a clean kitchen. The P&G ad, which is a radio spot, highlights the special role radio plays in the lives of Hispanic consumers, where it commands almost 20% of total adspend in Spanish-language media, much higher than in the general market. In the Batalla spot by Bountys Hispanic agency Lapiz, a war is fought by messy foods whose names lend themselves to mimicking the sounds of war (see Best of Show story, P. 38). For sheer we love to watch these ads popularity, the biggest winner overall this year was Cine Las Americas campaign by LatinWorks, which mined the endless craziness of real Latin America leaders for the brilliant tagline If this is our reality, imagine our films. The TV commercials were a contender for Best of Show, and the campaign picked up seven awards for Austins annual Latin film festival: two TV and two radio Golds, and Silver prizes in the TV, magazine and integrated campaign categories. In the end, Batalla prevailed for its originality, with extra points for creating theater of the mind in a challenging medium and difficult product category. P&G and Lapiz also picked up three other awards-Silver prizes for another Bounty radio spot and a magazine ad for Gain With Febreze detergent, and a Bronze for a Pepto-Bismol TV spot that humorously illustrates the dark side of the rich, spicy food Latinos love. Another P&G agency, Wing, also won a Silver for a Downy Ultra TV spot. Everything starts from an inspiring consumer insight, said Felix Olmo, a Procter & Gamble brand manager who oversaw Bounty. The insight is that the kitchen is like a battle zone. Theres also the idea that work in the kitchen never ends, and mom is in the middle of it. The Batalla spot also has an English-language version called Battle for bilingual radio stations, reflecting growing efforts to target the elusive but fast-growing acculturated, English-speaking Hispanic. Radio is a very important medium for Hispanics in our country of origin, said Maria Bernal,

associate creative director at Lapiz, Bountys Hispanic agency. People are used to having radio with them. Your roots are there. More and more the Hispanic consumer is a marketers best source of insights and inspiration that work in the general market, too. For instance, Volkswagen of America gave its Hispanic agency, Creative on Demand, an assignment to get across VWs message of carefree car-maintenance service, and it ended up working for all consumers. The insight was that Hispanics perceive German cars as good but too expensive to maintain. The carefree-maintenance message was delivered in such an entertaining way in the TV spot Fake Out, in which a car owner tries to disguise his vehicle as a Volkswagen in order to score free maintenance, that the judges gave it three Silver awards in different categories (TV, Bicultural Hispanic, and the Beyond Hispanic category for general-market work by a Hispanic shop). It was almost a game-changer, said Teresa Wakeley, Volkswagens media and diversity marketing manager. We definitely saw it move the needle. Daniel Marrero, founder of Creative on Demand, said that although the spot, done in both Spanish and English versions, works for everyone, theres a special nuance for Hispanics because it highlights la vivencia, a Latin American concept that roughly translates as ingeniously getting away with something. About 8.3% of Volkswagens customers are Hispanic, above the auto industry average of 7.5%, Ms. Wakeley said. The carmaker, which is making a major push to grow sales in the U.S., is spending about 15% of its ad budget in the Hispanic market. Its not just about targeting multicultural audiences, its about leveraging them, said Ken Muench, senior VP-director of multicultural planning at DraftFCB Chicago. That led to a gold win in the direct-marketing category for DraftFCBs fast-growing multicultural unit with a Hispanic-inspired direct response TV campaign for State Farm. We said, lets not think of the campaign in traditional silos, with separate general market and ethnic, Mr. Muench said. We told State Farm, we want to lead with these ethnicities. The campaign grew out of a research project into how people really feel about other ethnic groups, and the subconscious associations they make when shown pictures of families of different races. The findings: the Hispanic family was seen as the most credible and community-oriented, and the most real, while a white family was the least believable, and would have evoked the least emotional engagement if cast in a commercial, Mr. Muench said. State Farm chose to cast an engaging young Hispanic man, who is completely bilingual and bicultural. He moves effortlessly in and out of about 20 commercials, the majority airing in the general market. The Hispanic spots are more likely to feature a State Farm agent, and some are in Spanish. The African-American-focused commercials feature more black characters. But the central message-go check with your friends and neighbors about their car insurance, then come talk to us at State Farm-is

inspired by the way Hispanic families shop. We flipped the whole dynamic, and thats the direction were heading with a lot of our clients, Mr. Muench said. In an interesting sidelight, DraftFCB examined new words added to the Oxford English Dictionary in the past decade in different categories, such as technology, the environment and what the agency calls crossculturalism. The agency found that 11% of the new words referred to the environment, such as ecotourism and free-range, and 18% to technology, such as upload. A whopping 31% of the new dictionary words reflected crossculturalism, and many are food and entertainment-related, such as anime, telenovela, guayabera, taqueria, huevos rancheros and cilantro. Theres a different mindset that exists today among consumers, said Mark Gibson, State Farms assistant VP-advertising. Instead of isolating consumers in silos, the opportunity today is to try to understand what things are respectful of culture and heritage, and appreciated. Consumers really get it, much earlier than firms do. He said this is the first time State Farm has used the continuity of one character to help tell its story. Brands can no longer ignore the new [normal] for today is a much more crosscultural society, he said. Were trying to show we get and understand who you are as consumers and make it relevant. Another jury favorite, Harlistas, by Harley-Davidsons former agency Carmichael Lynch, won four bronze prizes for telling the individual stories of Harlistas, or Hispanic Harley riders. One of the best uses of social media was JWT San Juans Cada Dos Horas (Every Two Hours) effort for the American Red Cross to combat panic and promote preventive measures during the AH1N1 flu crisis. Twitter, Facebook and email were used to send witty alerts every two hours reminding people thats how often they should wash their hands. Ad Age conducts the annual Hispanic Creative Advertising Awards in partnership with the Association of Hispanic Advertising Agencies. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Leggo my iPod: Yes, were cutting back, but indulgences stay; Leap Index reveals brands to which consumers are most attached; top-ranked ones prove entertainment still rocks BYLINE: JENNIFER ROONEY; JROONEY@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 805 words

iPod. iPhone. xBox. Wii. These are the brands feeling the love-consumers love, that is, according to NewMediaMetrics first annual Leap Index, a ranking weighing the relative emotional attachment of consumers to brands in various categories. Leave it to hard, plastic boxes to get all the warm fuzzies. Whats interesting is that in 2010, [based on] the top 100, with all the talk of recession and cutting back, America still loves its indulgences-we still love our entertainment: iPod, iPhone, Disney, Xbox; we love our communications devices, we love shopping. Even if it is cutting back at a Walmart, still, things are being bought, said Denise Larson, NewMediaMetrics principal-founder. What struck us is if you go and look, in 2010, Hellmans comes up at 72 out of 100, she said. Twenty years ago, Hellmans was always the No. 1 brand. So what happened to mayonnaise? It got displaced by iPods and iPhones and XBox. Also topping this years list are Honda, Sony PlayStation, iPad and Google. NewMediaMetrics has been creating syndicated databases that measure emotional attachment to brands and media for the past five years, linking the high-value buyers of tracked brands to media theyre most attached to. This year the company compiled the brand data into the Leap Index (Leveraging Emotional Attachment for Profit), which enables marketers to compare their brands strength vs. competitors. To compile this years index, NewMediaMetrics surveyed online a representative sample of the U.S. population-3,500 people ages 13 through 54, with annual income of at least $35,000. The survey ran from March 17 to March 26, 2010. Consumers who are most emotionally attached to brands-those most unwilling to give up a given brand, designated as those who select 9 or 10 on a 0 to 10 scale to indicate emotional attachment (or 9/10s)-are obviously most valuable to marketers. They represent the consumers with the greatest likelihood to purchase that brands products or services, go deeper into a product line, and spend more to get the brand. In other words, theyre not as likely to buy on the cheap, said Gary Reisman, NewMediaMetrics principal-founder. Theres a tipping point, but theyre less likely to be deterred

by an increase in price. Theyll spend more to get the premium package. They are two-and-a-halftimes more likely to pay attention to an ad for that brand. And, he said, each percent of emotional attachment will equal revenue potential for a brand. Consumers who rank their emotional attachments to brands at the lower end of the 0-10 scale, dubbed 0-4s, however still can be important to marketers. You can have some with a high number of threes and fours in a particular category or among a certain segment, and thats where the newproduct opportunity is for those marketers, Ms. Larson said. It certainly is better to move up the curve, go to the higher end of the scale. But the 0-4s can be very telling to a marketer strategically as well. Every point on the scale is important because every point tells you something about your positioning in the marketplace, she said. Many consumer packagedgoods brands, for example, receive a high percentage of fives, reflective of frequent couponing in the marketplace and purchases made based on that rather than emotional attachment to any one brand. Some brands, of course, dropped in EA rank between 2009 and 2010, most notably, Toyota, which went from eights to 36. Thats what happens to a brand when they have a problem in the marketplace. EA is just reflective of what happens when you have that, Ms. Larson said. Their PR initially was terrible, and its reflected [in their rank]. The Leap Index also enables marketers to compare consumers emotional attachment to brands within categories, such as airlines. JetBlue, for example, has twice as much emotional attachment as United. Within the credit-card category, meanwhile, Visa has more emotional attachment than Capital One, which means they probably have much less attrition, Mr. Reisman said. We see a lot of Capital One advertising, which is probably because they have to work much harder at acquisition [compared] to Visa [because emotional attachment is much lower], he said. Can a good marketing campaign lead to a higher EA score? Thats a hard one to extract out of this, Ms. Larson said. The fact of the matter is they are all very strong marketers to begin with. Theyre spending money on marketing, theyre spending money on advertising. Still, spending doesnt always lead to EA, Mr. Reisman said. So what can marketers do to improve their EA rank? They would take a deep look at their EA in the marketplace. They would benchmark it, analyze it and implement strategies to improve it because each percentage of EA in the marketplace is money in their pocket, he said. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 11, 2010 Mad Aves myopia when it comes to Main Street; In spite of how advertisers see pop culture, not everyone is an iPad-carrying, organic-eating Facebook user BYLINE: BETH SNYDER BULIK; bbulik@adage.com SECTION: Pg. 34 Vol. 81 LENGTH: 1014 words

Not long ago, I was interviewing a senior marketing executive at a Fortune 500 company when he remarked offhandedly, Of course, no one has magnetic refrigerators anymore. He was referring to the adoption of high-end stainless steel models, but I couldnt help but picture my magnet-and-schoolpaper littered icebox at home. We have reams of research and data telling us exactly what consumers are like, but its easy to get caught up in myths of popular culture-the focus-group-of-one trap-and assume just about everyone owns an iPad, tweets from their phone and times shifts TV. Because everybody needs a reality check sometimes, we decided to take a decidedly non-scientific look at some Madison Avenue myths. EVERYONE HAS AN IPAD If analyst estimates of 8 million to 10 million iPads units shipped by years end come true, then a little less than 3% of the population will own one. And the buyers so far follow a typical early adopter pattern: more tech savvy, younger and wealthier than the average person. Some 63% of them are younger than 35, and 40% earn more than $100,000 per year, according to Nielsen Co. In July, a Facebook survey by psychographic quiz maker MyType queried 13-to-49-year-olds and found that 54% of them simply arent interested in an iPad, while 11% went as far to condemn it as a silly

product. Just 3% said they already owned one or planned to buy one soon. EVERYONE IS ON FACEBOOK Facebook claims there are 500 million active users worldwide, and yes, thats a big number. However, they also reveal that 70% of those users are outside the U.S., cutting the U.S. total to 150 million, with only about half of those logging on in any given day. The just-released movie based on the launch of Facebook, The Social Network, which is all the rage among the media elite, isnt playing in Peoria, either, according to film-industry blog Deadline.com. It reported the movie, which opened the first weekend of October at No. 1 with a take of $23 million, was mainly an East and West Coast phenomenon, especially in big cities. EVERYONE EATS ORGANIC FOOD While it is true that organic food is a rapidly growing segment of the food industry, it only represents 3.7% of total food sales, according to the Organic Trade Associations 2010 industry survey. Whole Foods Markets annual survey done by Harris Interactive online did find that three-fourths of Americans bought at least some organic or natural foods during the past year, but only 27% of them said more than one-fourth of the food they bought for the year was organic and/or natural. EVERYONE MAKES SIX-FIGURE INCOMES This is true maybe in New York and on the West Coast, but those dollars dont go far. According to the Bureau of Labor Statistics, the highest average paychecks in 2009 were handed out in the San Francisco/San Jose (20% above the national average) and the New York/Newark/Bridgeport (14% higher) metropolitan areas. However, New Yorks cost of living index was No. 1 at 210, more than double the national average, according to the ACCRA Cost of Living Index for the second quarter of 2010. San Francisco was fourth on the list at 162. New York does have the highest concentration of millionaires at 667,000 in 2009, but thats out of a population of 15.4 million adults, so just 4% of the population, according to Capgemini U.S. Metro Wealth Index. Los Angeles was No. 2 with 236,000 out of 10.2 million (2%). San Francisco ranked fifth with 138,000 millionaires out of a population of 3.5 million (4%). GREEN IS THE NEW BLACK While consumers like the idea of being ecologically friendly, the recession has reined in many of the average consumers green aspirations. Gfk Ropers annual Green Gauge 2010 report found that two out of three Americans think green products are too costly, while one in three dont believe green products work as well as regular ones. More than half of Americans (54%) said they would buy more green products if they werent so expensive, according to a 2009 Mintel study, with about 36% of Americans saying they regularly buy green products, the same percentage as the year before. NO ONE IN MIDDLE AMERICA IS HAVING SEX One common criticism of Madison Ave. and Hollywood content is that its too overtly sexual. But

maybe thats because theyre already getting enough at home? Middle Americans, in fact, are among the most sex happy citizens in the country, according to the 2010 annual Mens Health magazine survey. Austin, Texas, ranked first as the most sex-happy city, followed by Dallas; Columbus, Ohio; Durham, N.C.; and Denver rounding out the top 5. And while the least-satisfied city was Portland, Maine, other East Coast cities including Buffalo, N.Y.; Hartford, Conn.; Yonkers, N.Y.; and Burlington, Vt., all ranked in the bottom 10 of the Top 100. Cosmopolitan cities didnt fare much better: Los Angeles ranked No. 54; New York City ranked No. 73; and San Francisco ranked No. 74. NO ONE I KNOW WOULD BE CAUGHT DEAD AT WALMART UNLESS THEY WERE PITCHING THE ACCOUNT A recent study by Ipsos Mendelsohn of affluent Americans found that seven out of 10 Americans who earn more than $100,00 shopped at Walmart in the past year. Pew Research Center for the People & the Press found that more than 84% of all Americans shopped at a Walmart in 2005, the most recent year it did the poll. Of course, it could be a fly-over state thing. According to BIGresearch, 39% of consumers in the South and 25% in the Midwest shopped at Walmart during the first week of September, while just 15% of those in Northeast and 20% in the West shopped there. Northeast and West consumers were much more likely to shop at Macys (26.5% and 26.2%, respectively). EVERYONE IS ON TWITTER Yes, there are more than 100 million registered Twitter accounts, but a RJMetrics analysis of Twitters API at the end of 2009 (when there were 75 million accounts) found that 40% have never sent a single tweet, while an overwhelming 80% of accounts sent fewer than 10 tweets. About onefourth of the accounts had zero followers; the average Twitter account had 27 followers at the end of 2009. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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October 11, 2010 INTRODUCING ADVERTISING AGES MARKETFINDER SECTION: Pg. 6 Vol. 81 LENGTH: 249 words

Quick: How much did the average 55-to-64-year-old spend on housekeeping supplies in 2009? Stumped? Its a question easily answered with MarketFinder, an interface Ad Age has customdesigned for marketers and agencies to access data from the Census Bureau and Bureau of Labor Statistics. Using MarketFinder, you can examine national data down to the metro area and across age, gender, household type, race and ethnicity, education level and income. Pitching new business and need to get up to speed in a hurry? Well get you the data you need and even allow you to export it into PowerPoint-ready graphics. In addition, MarketFinder users get access to Ad Age and American Demographics stories related to consumer trends. The tool, launching next month, will show the most relevant articles to your specific searches so you will find not only data, but insights. Ad Age will give you the context surrounding the numbers as well as customized tips on how to use-and the limitations of-the facts, figures, tables and graphs. Of course, youll get the raw numbers, too. Now, the answer to that housekeeping products question: $825, far more than any other age group.Homeowners-especially those in rural areas-vastly outspent renters in this category. The Philadelphia and Dallas metro areas have large concentrations of householders in this age range. Additionally, the highest earners account for 35% of all spending on housekeeping supplies in the U.S., so that might be a good market to target as well. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Oh man, life may be tough but marketers still love you; Economical and educational setbacks aside, male consumers are spending more on grooming, taking on household shopper role BYLINE: JACK NEFF; jneff@adage.com SECTION: Pg. 8 Vol. 81 LENGTH: 925 words

Its a tough time to be a man. Unemployment has hit male-dominated industries such as manufacturing and construction hardest. Boding worse for mens future, their educational attainment is slipping compared to women. The income gap long favoring men is eroding as a result, with single, childless women in major cities now earning more than similarly situated men. Taking the extreme tack on a growing meme, The Atlantic this summer ran a cover story proclaiming The End of Men, replete with a decidedly limp male symbol. Its enough to make some guys question their self-worth. But theres one group to whom men are fast becoming far more attractive-marketers. Yes, even as men earn, study and work less (at least outside the home), theyre spending more on looking better and doing more of the household shopping. The likes of Walmart, Procter & Gamble Co. and Unilever are taking notice. These marketers, who once focused primarily on women, have increasingly tailored their offerings to men. Whether mens declining economic and educational attainment is somehow fueling their role as shoppers and consumers of grooming products is subject to debate. But that the trends are happening simultaneously is clear. Speaking at the HBA Global Expo last month in New York, Carmen Bauza, Walmarts VP-divisional merchandise manager for beauty and personal care, noted that the retailer has seen a marked increase in men as primary household shoppers over the past 18 to 24 months. The economy is likely the cause, Mr. Bauza said. But the nations biggest retailer also is making some permanent changes to appeal to men as shoppers. Walmart in the past year has added mens personal-care sections to 800 stores and is mulling the best way to set up such sections in the remaining 2,000 or so, said Kristine Joji-Wood, Walmart buyer for health and beauty care. The original shelf set had shaving and deodorant and had added some personal wash, but Walmart is looking to add categories to make the section more all encompassing, she said.

Walmart hasnt quite taken the plunge with Nivea for Men Q10 Revitalizing Eye Roller yet, but Walgreens has, putting a product that seemed daring even for prestige channels a half-decade ago into mass. Ky Henderson is editor in chief of ModernMan.com, a joint venture of TotalBeauty and Break Media launched earlier this year with P&G as an exclusive first-year sponsor. The website is a sort of manual for men to compete better in all areas of life. He believes theres a relationship between the growing economic and social pressures on men and their increased interest in personal-care products. Men are in a period of being a little out of control, trying to figure out their new role professionally, personally and in relationships, Mr. Henderson said. Theyre looking for a way to control their lives, and grooming is a way to feel in control. Professionally, older workers are being laid off more often so companies can hire younger workers who are cheaper. So men probably feel pressured to look and seem younger. Men are seeing that women do this every day and catching on. Regardless of the reason, American men spend five times more on skin products today than they did in 1997, Mr. Henderson said. The metrosexual tag that emerged last decade was contrived by marketers, he said, but by whatever name it goes by today, men are spending more time and money on their looks. Its not just guys being vain, he said. Its guys saying, I need to do this to achieve a goal. Unilever isnt so sure any of the growth in mens personal care, particularly body wash of late, has anything to do with their changing economic or social status. In fact, Unilever would like to think the trend has a lot to do with Unilever. Unilever has been leading [the rise of mens grooming], said Rob Candelino, marketing directorU.S. personal wash. Unilever accounted for two-thirds of growth in mens personal care outside shaving over the past five years, he said. That growth rate actually accelerated in the past year, he said. Weve driven almost 80% of the growth. Much of it follows a game plan started last decade, which divided deodorant into a mens and womens category, and is now trying to do the same with body wash. Men have changed in another key regard. Theyre doing a growing share of shopping, with men now accounting for a third of primary household shoppers and buying more than half of mens grooming products, Mr. Candellino said. Partly in recognition of mens growing role in domestic duties broadly, P&G Productions earlier this year tapped Omnicom Groups Proximity BBDO, Cincinnati to launch ManoftheHouse.com, a website dedicated to helping men navigate their emerging duties in the home, whether they are stayat-home dads or simply guys shouldering more domestic duties. P&G Productions, be it creating soap operas in the 1930s or digital programming more recently, is all about creating media to fill a need the market hasnt filled. ManoftheHouse was one example. We saw this need among guys, in particular dads, whose lives had changed and their role in the

family was very different than their dads typically played, said P&G spokeswoman Jeannie Tharrington. Most mens websites, such as Maxim.com or GQ.com, are targeting guys who are in the hunt, Ms. Tharrington said. These are the guys looking for six-pack abs and wanting to look their best on Saturday night. By contrast, its the post-hunt males who were going after. In other words, gatherers, i.e. household shoppers. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 5 TIPS FOR MARKETING TO MILLENNIALS SECTION: Pg. 17 Vol. 81 LENGTH: 324 words

BE FAST For millennials, theres nothing worth saying that cant be said in 140 characters or less. Its not that they cant handle long-form pitches, they just know you can do better. So do better. BE CLEVER As Nick Shore, head of research for MTV, said, Smart and funny is the new rock n roll. Millennials are set to be the most-educated generation on record, with the largest social-media platform (Facebook) having been famously born on a college campus. With their roots in college

culture, its no wonder eloquence and timing are more prized than ever for this generation. Err on the side of overestimating the millennial-as the Old Spice campaign shows-and sometimes theyll surprise you. BE TRANSPARENT Millennials may be arrogant and entitled, but theyre not stupid, and they know media exists to sell them things. So rather than pretending your branded beverage isnt conspicuously placed in a TV characters hand to entice them, look for new ways to make it funny. It will ring true with them, and theyll appreciate the honesty. (Need a cue? Look no further than the deliciously self-referential 30 Rock.) DONT TECHNOLOGIZE EVERYTHING By their own definition, millennials are in part defined by their use of and reliance on technology. But marketers should resist the urge to attempt to speak their language-Gen Yers can smell those ploys a mile away. Remember, millennials are digital natives-they dont use technology; they live it, and they do so subconsciously. GIVE THEM A REASON TO TALK ABOUT YOU Millennials dont like ads, but they dont mind marketing thats non-invasive, non-interruptive and that adds something to their experience, either online or off. Whether its a fun and timely iPhone app, a targeted high-profile event or a personalized viral-video campaign, if you want your message to resonate with millennials, give them something to talk about. And if we know the first thing about millennials, talk they will. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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October 11, 2010 Media-savvy Gen Y finds smart and funny is new rock n roll; Transparency, authenticity and relevance are key things to consider when marketing to these quiet agents of change BYLINE: THOMAS PARDEE; TPARDEE@ADAGE.COM SECTION: Pg. 17 Vol. 81 LENGTH: 1320 words

They entered the consumer market during the stormiest economic climate since the Great Depression. And like the generation that was forever altered by the harsh sacrifices of World War II, millennials are likely to be permanently affected by the Great Recession and its long-term ripples. But these characteristics wont change about the demographic: They are vocal, demanding and discerning. Members of Generation Y-the demographic loosely defined as those born between 1980 on the early end and 2000 on the high end-are truly the product of the turbulent times in which they were reared, and present a challenge for marketers who dare target this shrewd and, yes, narcissistic generation. Today, many millennials are unemployed; according to a Pew Research study released in February, a staggering 37% of 18 to 29-year-olds dont have jobs, the highest share in three decades. Those who can afford to attend college are going to less-expensive state schools or community colleges and many are moving back home after graduation. More than a third depend on family members for regular financial assistance. Theyre tightening their belts and re-evaluating what makes them happy-and theyre spending money accordingly. We may not have lost jobs now, but we never had them in the first place, said Gabi Gregg, a 24year-old graduate of Mount Holyoke College who was recently chosen as MTVs first-ever Twitter Jockey in a nationwide competition. Ms. Gregg was awarded the coveted $100,000-a-year positionher first stable job-in which shes charged with engaging millennials like herself in the topics that matter most to them. Almost everyone I know is living paycheck to paycheck, just trying to survive. Its easier to interact online than to go out and pay for dinner, or go to a movie. Paul Taylor, exec VP of the Pew Research Center, said finding footing on the first rung of the career ladder can be the hardest step for Gen Y. Young adults who start out in bad economic times suffer long-term consequences, he said. If you dont find a job right out of college, it may affect you for as long as 10 to 15 years down the road. Aside from the economic wrench, millennials bear key characteristics that distinguish them: they live and die by social media and peer validation, they were raised in peer-renting households that placed them at the center of their families attention; theyre endlessly optimistic about their futures

despite current hardships; and they care about social causes-at least enough to serve up a mean Facebook campaign. But whether millennials can tangibly unite behind a cause is a key tension point between experts and millennials themselves. Nick Shore, head of research for MTV whos currently conducting a study on the behavior patterns of Gen Y, suggests most millennials are willing to click the like button on Facebook to indicate support of a cause, but wont venture too much further beyond the gesture. This isnt to mean that millennials dont care, though. Experts agree that given their collective upbringing, for Gen Y, negotiation is the new rebellion. They dont see themselves as revolutionaries or reformers, they see themselves as quiet [agents of] change, said Carol Phillips, founder of the market research firm Brand Amplitude, which specializes in millennial studies. Its about working within the system. Theyve never had to reject anything; theyve just had to build on it. And their numbers suggest that they can be successful at it. This is a defining characteristic of the generation, according to author and economist Neil Howe, who coined the term millennial in the early 90s in his first of several books on Gen Y. And like most millennial-related issues, technology plays a part. If you ask a bunch of Gen Xers (born in the 60s and 70s) what they would do if they didnt like where they worked, most would say leave. But if you ask millennials that question, their attitude is, Someone will fix it, Mr. Howe said. Theyll start IM-ing each other, a few will get Mom and Dad on their cellphones, someone will call the local media, another will alert the congressman. Millennials trust in their institutions more than baby boomers or Gen Xers. Ms. Gregg cites the massive response to gay rights advocate Dan Savages recent It Gets Better YouTube project as a prime example of millennial might. In just a few weeks, hundreds of videos of LBGT adults and allies, including many millennials, had submitted videos with anti-bullying messages and support for gay youth. (The channel has since been viewed more than a million times.) Gen Y isnt physically storming the castle walls, but Ms. Gregg said that doesnt mean its not making its voice heard. Millennials are also perhaps the most analytical and media-savvy consumers ever. Mr. Shore said that, while some characterize millennials as suspicious or cynical of old-school linear marketing ploys, theyre just better at seeing through them. We shoot a beam of content to the audience, and they take it apart like light through a prism. Millennials are super-deconstructive of any kind of media messaging. Mr. Shore said for this reason and others, transparency and authenticity are key in marketing to Gen Y, and hes not alone-Ms. Phillips said Gen Y has a love/hate relationship with marketing. They love brands, and they talk about them more than anything else, but they hate the interruptive model of advertising, said Ms. Phillips. [Millennials] like to see ads tailored to them. Its not that they dont want to see ads, they just dont want to see ads for Cialis. Ms. Phillips says millennials are now tinged with a sense of frugality that will likely remain for the rest of their lives. Her research suggests theyre big into redistribution of materials, into sharing smaller houses and taking public transit or walking. Theyve dropped their cable and never used

landline phones; theyre not eating out as much, and theyre paying down their debt. Though they will splurge on necessities (which now include smartphones) and rationalize that occasional Coach bag as a career investment, theyll go online and ask their friends for recs. Theyre very careful shoppers. Ms. Phillips says millennials focus on experience helps explain why social currency is the new gold standard for smart marketers and advertisers. If I can add value, theyll tell my story for me, she said. It puts pressure on marketers to go back to their roots-its about engaging consumers with your message. Mr. Shore, who conducts focus groups for new programming with millennials from the earliest stages of a shows creation, said an essential element in making this new concept of social currency work is actually not so new at all-linear programming, like the MTV Video Music Awards, around which millennials can engage on digital platforms like Twitter. After all, smart and funny is the new rock and roll, Mr. Shore said. Mr. Howe said its no accident that millennials voted for President Obama by a 66% margin: Mr. Obama, who was Ad Ages Marketer of the Year in 2008, relentlessly peddled the most millennial ideas possible-positivity and inclusiveness. Mr. Howe said these are values that millennials respond to most. Gen X slogans were No rules, just right and Grab life by the horns, all very in-your-face, said Mr. Howe. For millennials, its Yes, we can, Wii would like to play and Were all in this together from High School Musical. Its a different attitude. It has to be inclusive, and it has to look for a better day. While experts note millennials are also known for their arrogance, self-centeredness and reliance on technology, Ms. Phillips said marketers and older generations in general would do well to not pander, over-simplify or write them off too quickly. They get it. They deeply get it, she said. And where they go, everyone else is going to follow. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Marketers still struggling with mommy issues; As the number of single, same-sex and minority families increases, ad messages are failing to connect with reality BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 12 Vol. 81 LENGTH: 1344 words

It was an honest mistake. My husband and I were momentarily baffled when we separately met the mother of one of the kids at our sons daycare and later remembered different first names. It was only after my husband ran into the mothers-both of them-picking up their daughter that the discrepancy was explained. While that particular situation is still the exception rather than the rule, its clear the face of mom is rapidly changing. Advertisements might be filled with young American mothers sporting wedding bands, but in reality, plenty of todays moms were born and raised outside of the U.S., are in nontraditional marital situations and are in their 30s or 40s. You only have to look as far as the prime-time TV lineup to realize that traditional mom stereotypes are becoming less relevant. The ABC hit Modern Family includes a same-sex couple raising an adopted daughter. NBCs Parenthood features a stay-at-home dad and a divorced mom. And on Private Practice, an ABC drama, one of the main characters recently gave birth out of wedlock. While that characters age isnt immediately apparent, the actress who plays her is 46. Its true that these groups are still in the minority, but theyre steadily growing both in size and importance. Isabelle Jazo, VP-brand strategy at E.B. Lane, an agency that has a specialty in moms, uses same-sex couples with kids as an example. Its on the fringe. But if thats just 1% or 2% of households, theyre still raising millions of children. Tell me thats not relevant, she said. It compounds. You have to connect the dots. In the 2000 census, one in four male same-sex couples and one in three female same-sex couples reported at least one child under the age of 18 living in their home. Experts have estimated that upwards of 6 million children in the U.S. are being raised by committed same-sex couples. It might not be that I had a child out of wedlock or am married to another woman, but I know people who are, and Im friends with them or I connect with them on Facebook, Ms. Jazo said. Indeed, the success of a show like Modern Family, which took home the Emmy for outstanding comedy series, would lead one to believe that consumers are prepared to see different types of moms and family units in advertising. But an unscientific scan of the marketplace reveals a dominant type of

mom in marketing: the young, married mother who doesnt look overly ethnic. One 43-year-old mother of three young children told me that shes noticed an interesting division between news coverage and marketing. Theres a lot of press that talks about parents being older these days but marketing is still geared toward younger moms, she said. Brands show younger moms or, at least, moms that are younger than me. Thats despite compelling statistics illustrating that moms are getting older. In 2006, one in 12 first births was to a woman 35 or older, compared to 1 in 100 in 1970, according to the National Center for Health Statistics. The recession could be further exacerbating that trend, as people postpone having children or adjust their expectations of family size. In 2009, the national birth rate fell for the second consecutive year to 13.5 births for every 1,000 people, the lowest level in a century. According to NCHS, the number of births fell 2.6% last year. In a survey conducted for Ad Age by Communispace of its Womens Space community, a number of women indicated that they are waiting until they are financially secure or have spent enough time with their partner before starting a family. Of the women surveyed, nearly 40% cited finances, while more than one-fifth cited career or career aspirations as the factor having the greatest impact on their decision to have or not have a child. A full 58% cited age or maturity level as the determining factor, with women citing 30, 35 or 40 as personal benchmarks for starting a family. We traveled a lot. We made a conscious effort to go on trips that were different and challenging and maybe not good for kids, said the 43-year-old mother, who is also a Womens Space member. Her first child was born when she was 35. We definitely didnt rush anything. Likewise, many women are waiting until theyre older to get married. Earlier this year, the U.S. Census Bureau said the median age of a woman at her first marriage has reached 25.9 years old. Thats compared to 22 years old in 1980. (See related story, P.20.) NOT A RING THING But marriage is certainly not a prerequisite to being a mom. A new study out from Everyday Health, publisher of WhatToExpect.com, highlights the fact that 64% of moms are married, meaning more than one-third of moms are single today. Likewise, nearly four in 10 births-or almost 40%-were to an unmarried woman in 2007, according to NCHS. And youd be mistaken in thinking most unwed mothers are teenagers. In 1970, teenagers accounted for half of all births to unwed mothers, but in 2007 they accounted for just 23%. Instead the number of births to unwed mothers in their 20s, 30s and 40s has risen dramatically. In 2007, women in their 20s accounted for 60% of births to unwed mothers, while women 30 or older accounted for 17%. Take, for example, this 35-year-old unmarried mother of three who said she and her partner were dating casually when she became pregnant with twins 11 years ago. They have lived as a family unit since then and have had another child together. But for a variety of reasons they have chosen not to get married. Some of it is for financial reasons and part of it is, we dont feel necessarily that a piece of paper makes that much of a difference, the mom and Womens Space member said.

And while thats not an unusual situation-about two-fifths of children are expected to live in a cohabitating household at some point, according to the U.S. Census Bureau-marketers, she said, always assume shes married. Automotive, consumer packaged goods, they run the risk of alienating what you might call a traditional mom, if they feature a same-sex couple or mom on the go without a wedding band, said Mike Fogarty, senior VP and group publisher at BabyCenter. Marketers are cautious about how they represent moms. Maybe thats why 42% of moms in a study conducted by the Marketing to Moms Coalition found ads that target them as a mom generally ineffective, and 28% found ads that attempt to relate to them as a mom unappealing. Moms are, generally speaking, not at the table when big strategic creative and marketing decisions are being made, which is why a lot of marketing doesnt resonate with mom, said Bridget Brennan, a founder of the Marketing to Moms Coalition and author of Why She Buys. People find themselves relying on old stereotypes. Everyone has a mom, so they think they know moms. While there is something universal about being a mom, better reflecting the changing face of mom will become increasingly important as groups considered to be on the fringe by marketers become mainstream. There is a role for brands to reflect what is happening in society, said Mark Sherwood, senior VPgroup planning director at Saatchi & Saatchi, which counts Cheerios, Tide and Pampers among its clients. It is important to find shared territory, shared interests between brands and these specific groups. To that end, ethnic moms are one area that marketers are sitting up and paying attention to, said Mr. Fogarty. He points out that one in four U.S. births is to a Hispanic woman. The number of births to Hispanic women in the U.S. has risen 95% since 1989, while the number of births to non-Hispanic women has fallen 3% during the same period. Thats a salient point that means a lot to marketers, he said. Its a numbers game, added Carolina Petrini, VP-market research at Everyday Health. A study from the group highlights the fact that a full 20% of todays moms are not born or raised in the U.S. These groups are still the minority. However the fertility rate for them is much higher, while fertility of U.S.-born mothers has come down. Thats when they stop being a minority. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Collaborative consumption sounds great on paper, but watch out for your reputation and your privacy BYLINE: RANCE CRAIN SECTION: Pg. 28 Vol. 81 LENGTH: 716 words

Whats the next logical step for consumers after theyve bought more stuff than theyll ever use? Sharing stuff and swapping stuff. Thats the premise of a new book, Whats Mine is Yours: The Rise of Collaborative Consumption, by Rachel Botsman and Roo Rogers. Every day, people are using collaborative consumptiontraditional sharing, bartering, lending, trading, renting, gifting and swapping, redefined through technology and peer communities, they write. Collaborative Consumption is enabling people to realize the enormous benefits of access to products and services over ownership, and at the same time, save money, space and time, make new friends, and become active citizens once again. But wait, theres more. Social networks, smart grids and real-time technologies are also making it possible to leapfrog over outdated modes of hyper-consumption and create innovative systems based on shared usage such as bike or car sharing. These systems provide significant environmental benefits by increasing use efficiency, reducing waste, encouraging the development of better products, and mopping up the surplus created by overproduction and consumption. This utopian view of a more rational, caring and trusting society, cut loose from the destructive pattern of endless buying and storing, had me ready to sign on the dotted line. But all this swapping and sharing of everything from vegetable gardens, empty couches, washing machines, cars, bikes, hedge trimmers and the like takes more than a modicum of trust. Trust that the person who lends you his couch wont rob you while you sleep or the guy with the hedge clippers will actually deliver the goods when you send him something else in trade. The authors contend that people involved in the swapping and sharing will want to do the right thing

to protect their reputations. Today reputation not only serves as a psychological reward or currency, but also as an actual currency, called reputation capital. We have already seen how people build their reputations by playing within the rules, helping others, and touting their accomplishments, Ms. Botsman and Mr. Rogers say. The FTC thinks its creepy that advertisers are able to track what your product preferences are and serve an internet ad to you on those. And the ad industry itself thinks theres a problem here, too. The ad trade groups last week announced a program that will give consumers enhanced notice and control over the collection and use of product data for targeting ads. But if both the FTC and the trade groups are concerned about behavioral advertising excesses, wait until they get a load of what will happen when the Collaborative Society takes steps to ensure that your reputation as a swapper or sharer gets proper recognition. It is only a matter of time before there is some form of network that aggregates your reputation capital across multiple forms of Collaborative Consumption, the authors predict. Well be able to perform a Google-like search to see a complete picture of how people behave and the degree to which they can be trusted, whether its around products they swap or trade or money they lend or borrow or land or cars they share. Can you imagine what would happen to the poor guy who gets rousted by the Collaborative Consumption police? Maybe he snored too loudly on the empty couch he shared. Or maybe he put too much soap in the communal washing machines or dug the trenches too deep in the communal vegetable garden. He would be forever banished to the harsh and cruel world of individual consumption and ownership. Embarrassed by the blatant use of name-brand merchandise, he would be scorned and shunned by the fiercely protective swappers and sharers and cyber barterers of the world. But the authors assure us that Collaborative Consumption is by no means anti-business, anti-product, or anti-consumer. People will still shop and companies will still sell. But the way we consume and what we consume is changing. As we move away from a hyper-individualist culture that defines our identity and happiness based on ownership of stuff toward a society based on shared resources and a collaborative mindset, fundamental pillars of consumerism-design, brand and consumer mindset-will change, for the better. Swap till you drop, baby. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 As single becomes new norm, how to market without stigma; When selling to this growing, aging group, dont assume that theyre all focused on getting married-or must be singled out BYLINE: E.J. SHULTZ; ESCHULTZ@ADAGE.COM SECTION: Pg. 20 Vol. 81 LENGTH: 922 words

They are a growing-and graying-force. Never-married single people ages 25 to 34 now outnumber the married crowd by 46% to 45%, a stark reversal from just a decade ago, when couples held a 20-point edge in the age group, according to an analysis of new Census data by the Population Reference Bureau. In essence, selling to singles no longer means just targeting teens and those in their early 20s. Some marketers are taking notice: More ads are featuring singles and some companies are reaching out to them, such as Coldwell Banker and Norwegian Cruise Lines. But for the most part marketers are only slowly adjusting to the new normal. And in some instances it doesnt make sense to exclusively target singles, according to interviews with multiple ad agency executives. We see many examples of brands-from soft drinks to cellphones-who talk to the traditional 18-to-24 year-old single. But the new single, the single parent or the more affluent, later life-stage single is a segment thats still emerging and expanding, Adam Bowen, VP-strategic planning director at DraftFCB Chicago, said in an email interview. Well need to spend more time with this group, gaining a better understanding of their unmet needs. Its a coveted group, for sure. Freed from the restraints of family life, singles have a reputation for splurging. They have more money to spend on themselves and theyre more willing to indulge on things that might seem frivolous or [a] non-necessity, said Ann Mack, director of trend spotting at JWT.

In 2009, singles of all ages spent a higher share of income on alcoholic beverages, clothing, shoes and tobacco products compared with other households, but less on housekeeping supplies and insurance, according to new data from the Bureau of Labor Statistics. Still, several ad agencies contacted by Ad Age said they do not have a dedicated unit studying the single market. One reason is that some goods are marketed the same no matter the consumers living situation. Beauty products, for example, are purposely nebulous about marital status, said Denise Fedewa, an exec VP-strategy director at Leo Burnett. Thats because married or not, when a woman is dressing up to go out, I think she always goes back to that vision of herself as that 25-year-old single woman, she said. But some companies are aggressively targeting singles. Coldwell Banker Real Estate, for instance, touts its YouTube real-estate channel as a way to reach singles ages 25 to 34. And video will be prominently featured in an iPad application the company is planning. Video is a stronger, better way to communicate with this age group, Coldwell Banker Chief Marketing Officer Michael Fischer said in an interview. You cant ignore the single buyer because they make up such a big portion of our target market. Single women accounted for 21% of all homebuyers in 2009, and single men made up an additional 10%, according to the National Association of Realtors. In the travel industry, Norwegian Cruise Line is reaching out to solo travelers by offering singleoccupancy rooms on its new Epic ship. In the past, single cruisers have had to pay a double occupancy for traveling alone, but these new accommodations ensure affordable and an alternative way of traveling for singles, spokeswoman Kristine McGlinchey said in an email. In the restaurant industry, communal tables are hot-making it easier for singles to mingle-and more eateries are offering breakfast and staying open all afternoon as a way to cater to singles on the go, said Clark Wolf, a New York City-based restaurant and hospitality consultant. Also, singles are behind the surge in trendy food-trucks that allow for a lot of standing around in line, which is where people like to meet and talk, he said. Dating sites such as Match.com that have long targeted singles are seeing an uptick in business. Match reported an 8% bump in subscribers for the second quarter, excluding irregular transactions, according to parent company IAC. And slowly but surely, more ads are featuring singles to keep up with the trend, said Adrian Fogel, VP-planning director at Leo Burnett. We always put families on because families made you feel better. But the reality is more people are living alone for whatever reason, she said. Ms. Fogel pointed to McDonalds ads, which she said had reliably featured families enjoying a Happy Meal or sharing fries but now include more singles, such as recent spots featuring solo diners enjoying Quarter Pounders with cheese. McDonalds is about family, but theyve found the balance

of understanding that theres a single population within their adults that they are targeting, Ms. Fogel said. Ms. Fogel said ads that work for singles are not about making them being single a negative. I think its about trying to connect them with what they do or love. She cited a recent Bud Light ad that features a group of men and women browsing a garage sale. One caution: Singles expert Bella DePaulo said too many marketers engage in matrimania, assuming that all that singles want to do is find a mate. Conventional wisdom is all singles want more than anything is to be coupled, so thats what we should sell them is a ticket to coupling, said the psychology professor at University of California Santa Barbara and author of Singled Out: How Singles Are Stereotyped, Stigmatized and Ignored and Still Live Happily Ever After. But the reality is singles are leading full, meaningful, happy lives, and they dont need to be patronized or stigmatized. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 Caught between worlds, tweens embrace makeup, reject Miley; Teen starlet a cautionary tale for media and marketing: this young audience wants to feel like adults, but not too much BYLINE: JACK NEFF; jneff@adage.com SECTION: Pg. 16 Vol. 81 LENGTH: 690 words

Tween girls are using a lot of makeup these days. In fact, regular usage of mascara and eyeliner by girls ages 8 to 12 almost doubled between 2007 and 2009, according to NPD Group, even as teens and young women reported using less makeup and fewer beauty products. Tweens show up in NPD research as users of 30 categories of beauty products. Six in 10 tweens at least once a month use lip gloss-their most popular item and a traditional point of entry into beauty products. Surprising enough, some even use firming anti-cellulite cream. Tween girls, in fact, are the biggest drivers of whats been the fastest-growing category in cosmetics of recent years: eye makeup. Even as tweens embraced it, mascara use actually declined among older teen girls from 2007 to 2009. Yet theres something more going on behind those raccoon eyes. Judging from the NPD numbers, it may seem like tween girls are trying to grow up faster. But tweens live in a sort of in-between world, nestled between childhood and young adulthood-which can be seen in how they reacted to an older role model whos also been growing up awfully fast as of late, Miley Cyrus. Signs point to Ms. Cyrus having alienated lots of her young fans through a variety of controversies in the past two years. First, there was that naked (from the back) cover shot by Annie Leibovitz for Vanity Fair in 2008. Ms. Cyrus followed that with what looked to many of her 25 million YouTube viewers to be a pole dance during a performance at the 2009 Teen Choice Awards. Then came the May release of a year-old video unearthed by TMZ of Ms. Cyrus, then 16, performing what looked like a lap dance for a 44year-old film director at a party, followed by a faux girl-on-girl kiss during a June appearance on Britains Got Talent. Who knows if all that will help Ms. Cyrus establish a more successful adult career than prior graduates of the Disney star system, such as Hilary Duff or the Olsen twins. But it has made her what Henry Schafer, exec VP of the Q Scores Co., calls a highly polarizing figure among tweens. Ms. Cyrus enjoys 95% awareness among tweens ages 9 to 14, according to Mr. Schafer. But her positive Q Score with the group is only 30%, compared to 41% negative. Q Scores began breaking out tweens as a separate category only last year, so its hard to measure exactly how much Ms. Cyrus widely publicized behavior has hurt her popularity. But a few signs point to a substantial negative effect. Fellow Disney star Selena Gomez has a smaller 80% awareness among tweens than Ms. Cyrus, but nearly double the positive Q Score at 58%. A notch down the awareness ratings, Disney star Demi Lovato has a lower 69% tween awareness but a positive score of 38%-still higher than Ms. Cyrus. A TV star or any content that veers sharply into adult areas is likely to turn off tweens, said Greg Livingston, partner with Curiosity Advertising, Cincinnati, and co-author of the book The Great Tween Buying Machine. Youre likely to get both a negative reaction and a lack of interest, he said. Kids will say thats inappropriate for kids. They dont always know exactly what it is, but they know its going in a direction thats uncomfortable as defined by society and particularly their parents. They dont

want to get themselves in situations that are uncomfortable for them. Seeing Miley Cyrus in a magazine where its not fun any more, and its seen as something they know their parents feel uncomfortable about, would put them in an uncomfortable situation. When polled, most tweens, particularly younger tweens, list their parents as their best friends, Mr. Livingston said. Their peers still arent as big of an influence as their parents, many of whom arent too happy with Ms. Cyrus new direction. Meanwhile, that tween interest in cosmetics appears possible only because parents approve, and are buying the products, NPD notes. While five of 10 tweens say theyve used skin-care products, and four of 10 have tried cosmetics, 51% say theyre happy with the way they look, according to NPD. Most of the girls listed their moms as the biggest influence on the beauty products they use. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 THE MOST-AWARDED SHOPS SECTION: Pg. 38 Vol. 81 LENGTH: 113 words

LatinWorks killed across multiple categories with its Cine Las Americas campaign, and the agency won a total of four gold, six silver and two bronze awards, including prizes for two Mars brands,

Burger King and Parental Control Bar software. Lapiz won five awards for Procter & Gamble brands Bounty, Gain with Febreze and Pepto-Bismol, including the best of show (elevated from a Gold), a Silver and two Bronzes. And La Comunidads irresistibly wacky humor scored a Gold, two Silvers and a Bronze award for MTV and Sony Cyber-Shot.

1.
LatinWorks (Omnicom Group)

2.
Lapiz (Publicis Group)

3.
La Comunidad (independent) 1. Based on Best of Show (10 points), Gold (7), Silver (5), Bronze (3) LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 11, 2010 WHY SMARTPHONES WANT TO PARTNER WITH AT&T BYLINE: KUNUR PATEL SECTION: Pg. 3 Vol. 81 LENGTH: 112 words

With all its dropped-call PR troubles, why does the carrier get its pick of devices? GENEROUS MARKETING Microsoft clicked with Apple as a marketing partner, said Todd Peters, Microsoft corporate VPmobile communications marketing group. AT&T is the No. 3 marketing spender in 2009, according to Ad Age DataCenter. Meanwhile, Verizons rich coffers (it was No. 2) have focused on its own Droid

brand. HEFTY SUBSIDIES AT&T was said to offer significant subsidies to Apple to snag the iPhone. COMMON TECHNOLOGY AT&Ts core technology-GSM-is a standard around the world, meaning manufacturers can produce a global phone. Verizon runs on CDMA, which is only used widely in the U.S. LOAD-DATE: October 14, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 3 ALL YOU SECTION: Pg. 13 Vol. 81 LENGTH: 303 words

Real women, real retailers and real products make for real big numbers for monthly mag Some magazines win their way onto the A-List with a novel strategy or an admirable comeback story. Others, like All You, just barge in. This year the budget-minded, recession-friendly title seemed to get every result it wanted. Subscriptions increased 25% in the first half of 2010 from the first half of last year-despite higher

subscription pricing as All You sold more of its own subscriptions and relied less on third-party agents. All You subscriptions averaged $1.25 a copy in the first half, more than Elle or Kiplingers Personal Finance. Overall paid and verified circulation increased 10.7% to nearly 1.1 million, overdelivering on All Yous promise to advertisers by 7.2%. Speaking of advertisers, All Yous ad pages in the issues from January through September not only increased-by 14.2% from the equivalent period in 2009, compared with a 2.2% gain for monthlies as a whole-but they recaptured their 2008 heights, according to the Media Industry Newsletter. When Time Inc. introduced All You in 2004, not many people wouldve suggested that the world needed another womens magazine, said Publisher Diane Oshin. But women wanted a title that featured real women like them and shared a focus on affordable living. Its only newsstands were in Walmart. It worked. We were able to distinguish ourselves to the consumer, Ms. Oshin said. The products in the magazine were products that she used, the retailers in the magazine were the retailers where she shopped. But will their momentum cool if the economy recovers ? The consumer has definitely recalibrated her expectations and shopping behavior, Ms. Oshin said. So if indeed we are out of a recession I know this brands relevance has cemented itself into perpetuity. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 AVENGERS BEAT DR. DOOM, BUT CAN THEY CONQUER FICKLE MOVIE PUBLIC?; New film wont be hitting screens until 2012, but Marvels promotional activity is ramping up for super hero brand

BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 832 words

Marvel Entertainments superhero team The Avengers has saved the planet from time-traveling world conquerors, alien baddies and outbreaks of witchcraft. Now they have to take on an even more daunting task: getting would-be moviegoers excited about a film that isnt slated to open until 2012. Comic-book aficionados are well aware of Marvels ambitious plan: It is releasing several films starring individual characters such as Iron Man, Captain America and Thor in hopes of stoking even greater buzz for a new movie about one of its superhero teams, The Avengers (made up of Iron Man, Captain America, Thor and others). The world at large, not as intensely interested in the comings and goings of people in garish costumes, may just shrug. To counter that possibility, Marvel has to work to ensure each film in the series leading up to its Avengers extravaganza-Thor and Captain America will be released in 2011-is well received critically, is financially successful and can be used to drive buzz about and reference to the larger story at hand. Marvel is about to use another avenue to spark buzz for its mammoth movie project. The company is working with various licensees to have products labeled with the phrase Avengers Assemble hit the marketplace, largely starting in late spring (although some product has cropped up in months past with the release of Iron Man 2). Youre going to see Avengers Assemble logos and icons take more prominent positions, said Paul Gitter, president-consumer products for Marvel Entertainment. On a lot of the packaging youre going to see everywhere, Marvel does tie back into The Avengers, and the umbrella platform we have set up. Among the goods set to roll out are a full line of action figures, vehicles and role-playing items from toy maker Hasbro; arts and crafts products from Crayola; die-cast toy vehicles and play sets from Maisto; and footwear from Brown Shoe. Additional licensees include Fruit of the Loom, Kids Headquarters, AME and Jem Sportswear. The idea, said Mr. Gitter, is to keep fans and would-be moviegoers paying attention not only to news about each release, but also to a broader story playing out over a longer period of time. Youre going to build momentum by using each of the preceding brands almost as a marketing vehicle for things to come, he said. Give consumers a way to live the story and you will ignite their interest in the story brand, and then the brand story of the movie itself, said Sophie Ann Terrisse, CEO at STC Associates, a New York brand-management consultant.

Theres a larger goal, too, said Mr. Gitter: The big play here is that Marvel is really looking at our films more as brands and less as films. The goal here is to become more of a household name similar to Procter & Gamble and Johnson & Johnson. We want Marvel to take a much greater position in the minds of the consumer when they are thinking about our properties. Marvel, recently acquired by Walt Disney, has strong reason to actively manage its characters. The company produces its films, but partners with other studios-in the case of The Avengers, its Viacoms Paramount-to get the movies out to the public. Sony distributes its Spider-Man movies, while News Corp.s 20th Century Fox has handled its X-Men movies. Because box-office results can be fickle, Marvel also needs to keep a larger narrative unfolding in order to ensure seats will be filled if any one movie misses the mark. Following the larger story seems to be driving anecdotal buzz: Theres been nearly nonstop chatter about the movie from its stars and director, something which is almost unprecedented when a movie is still in preproduction. Actor Jeremy Renner has been on MTV to discuss the uniform being worn by his character, Hawkeye, a Marvel hero who has excellent archery skills. Actor Mark Ruffalo, slated to take over the role of the Hulk, has generated conversation by discussing the special effects expected to be used with the rampaging green juggernaut. Additionally, each separate film contains subtle clues-Easter eggs, in comic-book-movie parlancethat refer to the broader Avengers story. Captain Americas star-spangled shield turned up in Iron Man 2, for instance. Such appearances may play more directly to hardcore comic-book fans who know what the icons represent, but they spark chatter. One academic who studies comic-book culture agrees with the strategy. Even if the movie is years off and dependent on other properties, Marvel has already kind of assured the fan public that it will be for them, making it more and more an eagerly anticipated event, said Bradley Ricca, a lecturer in English who teaches about comics at Case Western Reserve University. Whatever Marvel learns in its efforts, expect to see lessons learned applied well beyond the release of The Avengers film, said Mr. Gitter. He alluded to a plan in development pegged to 2017, but declined to offer details. As they say in the comics, to be continued. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 After Cadillac curse, BBH looks for a reset; Losing the biggest account it ever won set off series of turbulent months filled with executive departures BYLINE: RUPAL PAREKH; rparekh@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 600 words

When Bartle Bogle Hegartys contract with General Motors for Cadillac expired Oct. 1, you could almost hear a collective sigh or relief. The account-which initially seemed the biggest boon in the history of BBHs U.S. office and turned into something of a curse-is gone. Ironic, since it was the very thing that seemed to validate the British import. It had finally, after a dozen years on U.S. soil, earned the respect of a large, iconic American brand. It was late 2009 and Emma Cookson, then-CEO of BBH, New York, had called an all-hands meeting to brief the 140 or so staffers how it was going to restructure to be more nimble. She was so sure the shop had knocked its recent Cadillac pitch out of the park that she viewed this reorganization as a precursor to handling the complex $270 million client. At one point, Ms. Cookson said If we win Cadillac, then stopped in her tracks and stressed, when we win Cadillac She was right to be so sure: In January, BBH learned it had beaten the likes of indie McKinney; Publicis, New York; and Interpublic Group of Cos. shops Martin Agency and Gotham for GMs Cadillac business. But it lasted a mere six months before BBH was fired in June in favor of Fallon, Minneapolis, by GMs new CMO, Joel Ewanick. As BBH, New York, CEO Greg Andersen puts it, We won the premier pitch of 2010 in Cadillac, only to lose it as a result of mind-boggling client turnover and direction changes. To be sure, the office has had its ups and downs, but Cadillac marked an unprecedented period of turbulence thats had the industry wondering: will the U.S. outpost of the famed British micronetwork ever find solid footing on this side of the Atlantic?

It was enough to prompt Ms. Cookson, who after the Cadillac win stepped down as CEO to run the carmakers account, to take a two-month sabbatical in Europe. And it was the point in time after which several other top leaders in the office (much like that Johnnie Walker spot) took a long walk. I dont know if Cadillac was the last straw, or the only straw, said one search consultant. Oftentimes at agencies once someone leaves, people start to pour out. July saw the exit of chairman and industry veteran Steve Harty, who was charged with growing BBH in the U.S. by creating new offerings and examining potential acquisitions. In August, Ben Malbon, one of the founders of BBH Labs, announced he was going to Google. Last week came the most surprising departure of all, that of Chief Creative Officer Kevin Roddy, a move that BBH principal John Hegarty publicly chalked up to a disagreement over the creative direction of the office. Mr. Roddy didnt return calls for comment. That the shop has so far this year come up short in pitches-it was just cut from the Prudential reviewis a thorn in BBH worldwide CEO Simon Sherwoods side. Were not winning as much as we need to, but were getting into the pitches, Mr. Sherwood told Ad Age. Weve come second a couple of times, which is frustrating, and were trying to figure out why that is the case. Confidence is a part of this. Its like being a part of a sports team; you get used to winning pitches, and then you do. For his part, Mr. Andersen is pretty defensive about the perception that BBH is wobbly. While it might look like a company going through a difficult time, the reality is we are making changes to our business that set us up for the future, he said. Were not waiting for the industry as a whole to figure it out before we make our move. Added Mr. Sherwood: Were now through that turbulent period. What happened [last] week is the end of it. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 WHY IN AN EXPLODING MEDIA WORLD THE ADVERTISING COMMUNITY STILL NEEDS CNN; In a sea of news boat rockers, network provides safe harbor BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 1067 words

Does anyone really need CNN? In these times of personalized Google alerts, political radio and news-with-attitude, the straightshooting CNNs of this world seem to have less relevance in a media landscape choked with Drudges, Huffington Posts and countless online aggregators. CNN touts its authority, but viewers are a lot more fickle than in its early years; the networks big hits now typically come at moments of national crisis or freak news events-remember Balloon Boy? But while the network that Ted Turner built might not have the viewership clout it once did, there is still one audience that very much needs CNN: the advertising community. With shrinking viewership of local news programs (whos home from work at 6 p.m. anymore?) and provocateurs like Glenn Beck and Don Imus stirring up controversy, CNN is safe ground. Its a trusted, if plain-vanilla, news source. Clients still see the value in CNN, said Elizabeth Herbst-Brady, president-Interpublic Groups Magna Global. Added Chris Geraci, managing director-national broadcast, at Omnicom Groups OMD: Its nice to have a strong showing in prime time, but its not necessarily why youre buying the news genre, said. Maybe thats why CNN isnt portraying its new prime-time lineup changes as a radical departure from its usual modus operandi-although, lets be honest, the prospect of seeing disgraced former New York Gov. Eliot Spitzer as a prime-time news host is, well, more than titillating. A new program that pairs him with co-host Kathleen Parker launches Oct. 4 at 8 p.m. The colorful British personality Piers Morgan takes over for the venerable Larry King at 9 p.m. in January. And anchor Rick Sanchez has injected more personality into his daytime slot than is expected from CNN personnel. The executive who leads CNN insists its U.S. network will resist the temptation to adopt the technique that has led rivals to greater ratings. Anchoring programs to a single lens or view would be catastrophic for CNNs operations, said Jim Walton, president-CNN Worldwide. And yet, that very strategy has helped both News Corp.s Fox News Channel and, to a lesser extent,

NBC Universals MSNBC, gain more viewer attention-and the ad revenue that comes with it. Fox News captured about $511.4 million in ad dollars in 2009, according to Kantar Media, handily trumping CNNs $420.2 million (MSNBC notched just $131.7 million, according to Kantar). A CNN spokeswoman said the majority of CNN U.S. is sold in tandem with other venues such as HLN, which Kantar said took in around $144.2 million in 2009. Fox and MSNBC have more viewers in prime time than CNN, according to Nielsen, with Fox News beating the network in overall daily prime-time viewers more than three-to-one through Sept. 19, 2010. CNN has also trailed the other two in prime time with viewers ages 25 to 54, typically the demo upon which advertisers judge the channels. Indeed, CNNs 25-to-54 audience at 8 p.m. has been averaging just 20% to 25% of Fox News in the same hour, and usually trails that of MSNBC, according to analysis from Wedbush Securities James G. Dix. A CNN spokeswoman said the U.S. network draws more viewers tuning in over the course of a month than other cable news networks. And CNN might be losing what has been its advantage-as the first place to turn to for breaking news, the nonpartisan Project for Excellence in Journalisms The State of the News Media 2010 suggested. During the weeks of the shootings at Fort Hood and the earthquake in Haiti, CNNs coverage was not enough to keep Fox News out of first place. Things are only going to get tougher. In the not-too-distant future, analysts envision a news aficionado who goes first to digital and mobile venues to keep up on breaking news-not cable. Given all this, shouldnt CNN just abandon the old way of thinking and ride the new programming wave to what would presumably be success? Radical change may not propel CNN to greater glory. CNN should contribute 12% of Time Warners consolidated operating income in 2010, according to Wedbushs Mr. Dix-a flow of money no one wants to see dry up. In addition to ad time on its U.S. network, CNN offers what ad buyers said is a broad reach across many different venues: overseas, out-of-home, online and more. CNN also captures subscriber fees from cable, satellite and telecommunications companies that distribute the network to viewers. And local news outlets pay CNN for use of the networks content on their air as well. All of which makes tinkering with such an established flow of revenue tough. Its hard to reinvent something thats that important to your profit stream, said Mr. Dix. Which brings us back to advertisers, who like the audiences news channels attract but are wary of an inflammatory host. Many cable-news outlets run ads in an arrangement known as run of schedule in which a marketer agrees to have ads run during a specific range of hours but often doesnt know which program or what host the commercials will be supporting. CNN provides a neutral environment for advertisers, said Scott Pool, VP-associate director of national broadcast at Omnicom Groups GSD&M Idea City. Certain people are leery of certain personalities on other cable networks. Fox News said it has been able to move advertisers concerned about Mr. Beck to other spots on the network, so there has been no lost revenue. An MSNBC spokeswoman said the network has not had a problem with advertisers pulling out of Countdown, the program hosted by Keith Olbermann. In a signal CNN is trying to push forward, it recently replaced Jon Klein, who led its U.S. network

operations since 2004, with Ken Jautz, a CNN vet who in recent years has increased ratings at sibling cable outlet HLN using the likes of Nancy Grace and the now-departed Mr. Beck. He may not be able to repeat those feats. While high-octane personalities and opinions work in prime time, finding the right balance of attracting viewers in prime time to that sort of programming while not hurting the core value proposition is the challenge, said Andrew Heyward, a media-industry consultant and a former president of CBS News. For now, Mr. Walton is betting on the straight stuff. We expect Ken to grow his audience each month, each quarter and each year. One of the ways he will do that is by presenting and producing very relevant, compelling television programs. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 4 COOKING LIGHT BYLINE: THOMAS PARDEE SECTION: Pg. 13 Vol. 81 LENGTH: 269 words

Making the right deals and listening to readers keeps Light the largest mag in its category Magazines may not be recession-proof, but food is-and for print editions that can harness the necessity of good cooking thats time-and calorie-efficient, that may be enough.

Take Cooking Light, the 23-year-old epicurean linchpin of Time Inc. Its holding steady as the food categorys largest, with paid circulation of 1.78 million in the first half of the year, up 2% from the first half of 2009. And its ad pages from January through Sept. have surged 18% over the same period in 2009, according to Media Industry Newsletter stats. Much of Cooking Lights success owes to substantial investment from Time Inc., said VP-Publisher Stephen Bohlinger. They invested in a wise way, in focus groups, in talking to our readers, and in listening to what was important to them, said Mr. Bohlinger, who took the reigns as publisher in December 2008, which many consider the trough of the Great Recession. The magazines redesign last year, directly reflective of reader feedback, increased focus on product. Mr. Bohlinger said Cooking Light is knee-deep in developing an iPad app as well, part of its expanding digital strategy. Cooking Light has also inked a deal with food-service provider Aramark, which will feature its recipes in the dining rooms of dozens of Fortune 500 companies nationwide, including Johnson & Johnson and JP Morgan Chase. It expects to have up to 150 chefs tables open by the end of 2011. We have our 25th anniversary coming up [in 2012], and we just going to continue to innovate, Mr. Bohlinger said. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 DMA struggles to reinvent itself as direct evolves in digital world; Under new CEO Kimmel, association strives to ramp up relevance, embrace social-media era BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM

SECTION: Pg. 2 Vol. 81 LENGTH: 870 words

When walking the exhibit floor of the Direct Marketing Association next week in San Francisco, pay careful attention to the vendors. Odds are the majority of them will be mailers, list providers, printers and letter shops-not exactly top of the list for Firstborn, Digitas or R/GA. Which goes to illustrate the conundrum the 93-year-old trade organization is facing: Its smack dab in the hottest space in marketing-one-to-one communication-but has struggled to evolve into the new world of direct exemplified by the likes of Twitter, Facebook and Foursquare. They should be the center of leading-edge technological advancement in direct, one agency head said. They could be the biggest show around. Steve Cone, a longtime direct marketer and former CMO of Epsilon, was harsher in his assessment. The DMA is not a relevant organization for the digital space, he said. It should be, but its just not. For its part, the DMA concedes that it has a ways ago, though it has not lost relevance. Its membership roster, at 2,720, is down 10% from 2008 but the organization cites agency and marketer consolidations as part of the reason for the decline. It notes that influential new members that have come aboard in the last year including Walmart, Target, ESPN and Time Warner Cable. The organization in two recent years has also operated at a deficit, with expenses exceeding its falling revenue. Total revenue plunged 23% to $30.1 million in the year ended June 2009, according to Ad Age DataCenters review of DMAs federal tax return. That year, the trade associations expenses exceeded revenue by $4 million. DMA also ran a deficit in the year ended June 2008, when its revenue slipped slightly (down 0.3%). However, CEO Lawrence Kimmel said the DMA is financially stable now, and if you were going to project the year out from where we are right now in our fiscal year, which began on July 1, we would be in the black about $2.6 million. The $4 million deficit number is correct but 40% of that was from declines in a pension fund. He claims conferences and events are 10% up and enrollment in its education programs is up 56%. But theres still a lot of missed opportunity to drive those figures higher. I wouldnt describe them as forward-thinking, and thats unfortunate, said an executive at a digital agency thats no longer a member of the association. Its an organization we would totally support if we felt like it was really listening and reflecting the digital space. Mr. Kimmel, who became the organizations new CEO in July, says he is listening-intently. In fact, Mr. Kimmel maintains that, up until not too long ago, he shared those same feelings about the DMA. I came in here and wondered like others in the community about the progressiveness and enthusiasm

of the DMA, he said. It hasnt been doing enough to remain on the cutting edge. As a start to rectifying this, at this years annual show beginning Oct. 9, Mr. Kimmel will be issuing a call-to-arms for the industry, asking for its help in redefining and championing a new understanding of direct marketing. His plea will unveil several new branding and educational initiatives intended to illustrate the DMAs progressive activities around social, digital and mobile marketing. Mr. Kimmel will also announce the launch of a new DMA website newdma.org with an American Idoltype contest called the SocialMedia Face-Off in which attendees will vote on the best social-media campaign presented by six industry thought leaders. Its all part of the DMAs concerted effort to meet the needs of digital shops going forward. Mr. Kimmel said digital, mobile and socially themed sessions will have a greater presence at this years annual show than ever before. But one thing that wont change-to the frustration of some-is the organizations name. We are starting with working as a community to change the understanding and definition of the discipline, Mr. Kimmel said. The name of an organization is secondary to the understanding of the discipline. The words direct marketing carry a lot of baggage, said an executive at one of the worlds biggest direct agencies. Its hard to bring a new generation of talent and vendors, because social and digital media is the passion of these young kids and companies, and they dont want the baggage that comes with direct marketing. In fact, the DMA has tried to break away from its image before by bringing in email marketing, social and DRTV, but it has never successfully broken away from that stereotype of just being about direct mail, said an executive at one of the worlds biggest direct agencies. But it seems to stand a shot with Mr. Kimmel, who is the only agency CEO to hold the chief executive role at DMA; he is the former chairman-CEO of Grey Direct Global Network and as such has a closer view of what agencies playing in the digital world require. For 93 years, we have been successful in supporting the direct-mail community, so that defines, in many peoples minds, the brand, Mr. Kimmel said. But thats not really the brand anymore. This organization was too slow to integrate, but we are getting better, and we are proud of where we are and where we will be going. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 When Facebook goes down, what are all of its friends supposed to do? BYLINE: IRINA SLUTSKY; ISLUTSKY@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 690 words

More than a million linked sites feel the pain when the social network hiccups More than a million websites around the web are looped into the worlds largest social network via Facebook Connect. Its social plug-in-the increasingly ubiquitous Like button-generates at least three billion clicks a day. And for many brands, a Facebook presence has outstripped their own proprietary CRM programs. With Facebook providing sharing tools, authentication, and even commerce for so many sites and brands, what happens when Facebook goes down, as it did on Sept. 22 for more than two hours? A Facebook outage cannot crash the web, but it could be a real pain. Think of Facebook as the phone line going into your house. If the phone line is down, the rest of your house is still operating-you can still take a shower, cook a meal, take a nap, mow your lawn. Everything but make a landline phone call. If youve incorporated Facebook into your web presence, there will be a big hole in your website, said Michael Lazerow, CEO of Buddy Media, a company that provides social-media marketing services to clients like the National Hockey League. That will happen to some of our clients, like NHL.com. Mr. Lazerow said that while these Facebook assets are down, the site around it could be slow to load and operate and advertisers cant get full credits for their ad served. And, no, you cant us the like button. Thats exactly what happened on CNN.coms front page for two and a half hours-users simply couldnt log in through Facebook Connect to comment, like and share articles with friends. The Facebook connect box stared back at them empty, waiting to be filled in with information while

Facebook fixed itself. Other non-Facebook social-graph indicators, like the CNN Newspulse, which lists the 10 mostviewed stories on the site, continued to function during the outage as did the rest of the CNN site, CNNs own registration function and other Turner properties. The ideal scenario is that our two systems are segregated enough that when Facebook goes down, there is no impact on the front end of our site, said Dermot Waters, senior director of product development at CNN. But a slow load or a blank box is not a companys only problem if its site doesnt just use the Facebook API for simple registration or personalization purposes, but rather builds its entire functionality on top of it. Consider a company like Zynga, creator of Farmville and Mafia Wars, with 360 million monthly active users. About 90% of Zynga activity takes place inside of Facebook. Every minute that Facebook is down probably costs Zynga $10,000, said Seth Goldstein, founder of StickyBits. But theres nothing you can do, its the way of the world. Theres no such thing as API insurance, though there probably should be. A Zynga representative declined to comment for this story. Most developers and technologists are quick to forgive Facebook for their glitches. When Facebook goes down, its a bummer, but if you were scaling to 500 million, youd have your issues too, said Mr. Goldstein. Other companies who have scaled quickly, like Twitter, have far more outages than Facebook and far less usable developer tools. Inigral.com cofounder Joseph Soafer went all-in and built his companys biggest product-Schools, which creates mini social networks for admitted college students-completely inside of Facebook. Outages are something that you have to be aware of, Mr. Soafer said, But the other option is to build something that would see much less usage and is less interesting and engaging. As a tech guy, Mr. Soafer said that Facebook.com goes down very rarely-in fact, Sept. 22s outage was the first in four years. But for a Facebook product like FB Connect to be used by a million websites-thats a drop in the bucket. Who knows what could happen as those tentacles reach further and deeper into more and more crevices on the net? Peter Relan, chairman of CrowdStar, had this to say: As Facebook and FB Connect become integrated into the fabric of the social web, Facebook outages will be more noticeable-sort of a double-edged sword for a web brand. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 5 FOOD NETWORK MAGAZINE BYLINE: THOMAS PARDEE SECTION: Pg. 16 Vol. 81 LENGTH: 371 words

After its foodie competition met its fate, gamble turned into unexpected success, and its still rising Last October, even as Gourmet became another victim of the ad downturn pummeling almost everyone in all media, the people behind Food Network Magazine actually had reason to celebrate: The risky venture they had begun the year before was reaching conspicuous fruition. A year after it launched a test issue in October 2008 it hit one million in circulation. And it has continued growing fast. Over the first half of this year, Food Network Magazine averaged paid circulation just a hair below 1.4 million, according to its report with the Audit Bureau of Circulations. It thrived on other fronts as well. Its issues from January through September of this year ran a combined 502 ad pages, up from 273 in the period the year before as the magazine added issues and advertisers, according to the Media Industry Newsletter. This spring it was nominated for a National Magazine Award in the general excellence category. And the web is actually feeding the print edition: more than 810,000 subscriptions have been sold online to date, according to the magazine. Publisher Vicki Wellington said the titles meteoric success left her and its owners-Hearst Magazines and the Food Network-somewhat shocked; they figured it would do well, but not quite so quickly. Its a great surprise, and its a great brand, Ms. Wellington said. We launched while a lot of budgets were spent, so we had to work hard, and we had to work smart. Brand integration has been a chief component of the magazine, with content and cross promotion

spanning the cable channel, the Food Network website and the magazine itself. It prominently features celebrity chefs such as Guy Fieri and Cat Cora, and is seeing increased ad buys in some areas outside its core focus such as auto and travel. The relationship with the Food Network has been a great asset, but oddly enough, it wasnt always clear whether the magazine should actually be called Food Network Magazine. Consumers, however, soon made that choice. Women in focus groups said, Call it what you want, but were calling it the Food Network Magazine, Ms. Wellington said. That was an a-ha moment. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 What is TechCruch sans Michael Arrington? AOL didnt want to find out; As tech blogs grow up, can they transcend their founders? Its possible, but for many the results remain to be seen BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 614 words

They started out as personal obsessions and evolved into agenda-setting news outlets proffering snap judgments on everything from Yahoos executive drama to Googles new URL shortener. Now, a question: Have a noisy group of tech blogs come of age? With its $30 million acquisition of TechCrunch, AOL argues yes. So did Dow Jones, which locked up

Walt Mossberg and Kara Swisher, the impresarios behind AllThingsD, to three-year deals last week. Both TechCrunch and AllThingsD are mildly profitable, but AOL and Dow Jones are doubling down on their investments, looking to infuse additional cash to build out news staffs and new events. Once, the rap on news blogs built around big personalities was that theyd never transcend them, and thus never build lasting value. For some, thats undoubtedly still true, and its telling that AOLs condition for even opening talks with TechCrunch was that founder Michael Arrington would stay on. At the same time, some of these entrepreneurial sites have grown bigger than their founders. Most media products come from the mind of a single person and go from there, said Om Malik, founder of GigaOm. Rolling Stone was created by Jann Wenner. I think the job of the founder of these media entities is to create a framework and a vision that other people can follow. Both Messrs. Malik and Arrington took extensive time off from their enterprises with no adverse effects, and while both still define the voices of the publications, theyve ceded day-to-day control of the editorial and the business. Similarly, Business Insiders Henry Blodget and Mashables Pete Cashmore are CEOs, but they have staffs that handle varying levels of the business day-to-day. Some have developed well-known editorial personalities beyond the founders themselves. Thats the strategy at AllThingsD, which in addition to Mr. Mossberg and Ms. Swisher has Peter Kafka, John Paczkowski and Katie Boehret. One of the things we are interested in is to make stars of people-that they are well-known for being accurate, engaging and fair, Ms. Swisher said. We think the D brand is much bigger than Walt and I. Few think TechCrunch will be the last deal, particularly while media old and new are desperate to build scale in low-cost content for display advertising. Doing that is a lot harder than it looks, said Tolman Geffs, co-president of Jordan Edmiston Group, who represented Forbes in the sale of Investopedia to ValueClick. Will TechCrunch ever hit $100 million? No. Will AOL help it grow? Yes. The deal gives AOL additional scale in the tech vertical, with little audience overlap with Engadget and Apple blog TAUW. While a blog like TechCrunch goes deeply into the weeds of startup and tech minutiae, AOL CEO Tim Armstrong sees it as reaching both a business and a consumer audience, You get both audiences and we felt its a two-for-one transaction. Yet the blogs themselves remain small businesses, and tough to scale beyond the devoted few without resorting to pageview tricks that dilute the brand. Most are looking for revenue sources beyond display ads such as pricey events and proprietary research. Its been pretty clear to me that the efficiency of the internet is going to make advertising as a sole business model almost impossible, Mr. Malik said. The question is whether the culture that made TechCrunch big-and arguably Mr. Arringtons outsize personality-can thrive as part of a corporate environment.

It didnt take long for Mr. Arrington to see the downside: a three-and-a-half hour orientation meeting with our new corporate overlords. God help us if news breaks, because well all be in the conference room acting out a Dilbert cartoon. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 THE WORK BYLINE: Teressa Iezzi SECTION: Pg. 23 Vol. 81 LENGTH: 509 words

IKEA HOMEMADE IS BEST AGENCY: FORSMAN & BODENFORS, GOTHENBURG The partnership between Ikea and Forsman & Bodenfors has yielded many innovative digital campaigns, but recently the pair has set the design world abuzz with something a bit more simple-Homemade Is Best, a baking book. Ikeas cooking tome deconstructs the ingredients of baked goods into still lifes shot by Carl Kleiner, along with 30 classic grandmother recipes. F&B Art Director Staffan Lamm says the original brief didnt start out with a book idea, but just asked the agency to create a campaign for Ikeas kitchen appliances.

Lamm says 50,000 copies of the book were made and are being distributed to customers who visit the kitchen areas of Ikea stores in Sweden. ART DIRECTOR: STAFFAN LAMM CLIENT: IKEA ART DIRECTOR: CHRISTOFFER PERSSON COPYWRITERS: FREDRIK JANSSON, ANDERS HEGERFORS ACCOUNT DIRECTOR: SUSANNA FAGRING ACCOUNT MANAGER: EWA EDLUND RETOUCH: FACTORY, HENRIK LAGERBERG PHOTOGRAPHER: CARL KLEINER STYLIST: EVELINA BRATELL FRENCH CONNECTION UK YOUTIQUE AGENCY: POKE, LONDON FCUK brings fashion tips and shopping into one experience. Clothing retailer FCUK tapped Poke, London, to create Youtique, a direct-sales channel on Youtube featuring stylist Louise Roe, who doles out fashion tips in annotated videos that allow consumers to buy the featured items through contextual links to frenchconnection.com, providing for a streamlined user experience. FIRSTBORN DOFLBALL AGENCY: FIRSTBORN MULTIMEDIA Quite possibly the first iPad game you can play with your pet. Firstborn recently came out with this iPad game, Doflball, which turns your Apple tablet into a touchbased air hockey game of sorts. While it promises a lot of fun with your drinking buddies, turn on the games pet mode and it makes for a great bonding tool for you and your pooch. The game is the brainchild-and namesake-of Firstborn senior developer Dofl Y.H. Yun, who used his cat as a test subject during development. The app is available free on iTunes. SENIOR DEVELOPER: DOFL YUN GOOGLE MOBILE PIZZA AGENCY: MUHTAYZIK/HOFFER, SAN FRANCISCO Take that, Little Caesars. What was it you wanted to find again? Google takes the Head On approach in promoting its Search with My Location feature, which instantly pulls up search results spoken into your phone. EXECUTIVE CREATIVE DIRECTOR/WRITER: JOHN MATEJCZYK CREATIVE DIRECTOR: DIKO DAGHLIAN ASSOCIATE CREATIVE DIRECTOR/WRITER: CHAS MCFEELY

EXECUTIVE PRODUCER: MICHELLE SPEAR ASSOCIATE CREATIVE DIRECTOR/ART DIRECTOR: STEVE ANDREWS PRODUCER: LINDSAY FA ACCOUNT DIRECTOR: BRITT PACKOUZ ASSOCIATE PRODUCER: KELLI BRATVOLD PRODUCTION: STUDIO G & TEAK DIGITAL EXECUTIVE PRODUCER: GREG MARTINEZ THE NEW YORKER IPAD APP DEMO The New Yorker app, demonstrated. Actor Jason Schwartzman shows how and where to use the New Yorker iPad app, for which the publisher will charge $4.99 per issue. PRODUCTION COMPANY: THE DIRECTORS BUREAU DIRECTOR: ROMAN COPPOLA STARRING: JASON SCHWARTZMAN EXECUTIVE PRODUCERS: SCOTT DADICH, MELISSA CULLIGAN PRODUCER: SUE AHN EDITORS: PETER BRANDT, MARCUS HERRING LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 In-store TV still battling it out for respect-and marketing dollars BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1026 words

Bob Wolinsky calls it the taint. He means the residue of doubt spawned by decades of in-store TV ventures that never delivered as planned, despite the seemingly unbeatable premise of putting TV ads in front of shoppers just as theyre deciding whether to buy. Mr. Wolinsky heads the latest foray into in-store TV, Automated Services, set to launch a test of its 3GTV network in nine Bloom stores around Washington, D.C., later this month. But, he acknowledges, the taint is so devastating that it makes it very difficult to engage someone in an open conversation about in-store TV. He believes hes solved problems that dogged prior in-store TV ventures. His solutions include a yetto-be-revealed content approach he likens to short attention-span theater, cheaper technology for wiring stores and systems that ensure ads actually get delivered to screens and monitor shopper flow through the store. But the taint has caught up to bigger and better-funded players than Mr. Wolinsky. While most in the industry blame poor execution, some are questioning the concept. The biggest and most recent bold plan came two years ago, when behemoth Walmart joined its longtime in-store TV partner PRN, analytics firm DS-IQ and media shop Starcom Mediavest Group to launch the Walmart Smart Network. The new network addressed prior shortcomings with Walmart TV by building screens directly into end-cap displays, customizing messages by store and section, measuring response and refining messages based on sales. Walmart expected to deploy the upgraded network in all its stores by early this year. That didnt happen, and its not yet clear when it will. A spokeswoman for Walmart said in a statement the network is in 1,200 stores (well under the 2,700 targeted two years ago) and continues to be installed in new stores. She added the retailer is encouraged by increasing advertiser interest. Walmart realizes in-store messages need to be shorter and focused on finding new products and is focusing on such innovations as weather-triggered campaigns, mobile integrations and Spanish-language ads, she said, adding: We are seeing welldesigned and thoughtful campaigns successfully drive and lift impressions. Late last year, the parent company of PRN, primary operator of the Walmart Smart Network and Walmarts older in-store TV network among those at several other retailers, filed for bankruptcy. Though PRN wasnt apparently the cause, Paris-based Technicolor has been trying unsuccessfully to sell the unit as part of its restructuring plan, including after emerging from bankruptcy earlier this year. But PRN CEO Richard Fisher said his business has posted a profit consistently for 10 years, including the first half of this year. He said only Walmart can say why the Smart Network has rolled out slower than planned, but noted that many new ventures have been slowed by the recession, which

intensified just as the Smart Network was launching. He blamed delays in selling PRN on Technicolors determination to get fair value. Mr. Fisher acknowledged in-store TVs image problem, but has a different take on the taint. The perception of failure has been fueled, he said, by startups-he counts about a dozen-who burned through venture capital and investor patience long before they reach the scale to be meaningful to national advertisers. Thats not PRNs problem, Mr. Fisher said. With 206 million monthly consumers reached, per Nielsen data, its bigger than the next nine in-store video players combined, he said. Another problem is the very term in-store TV, Mr. Fisher said. Though PRN has used it in the past, he prefers retail media, a reflection that its not about conventional TV commercials in store and can incorporate other types of digital communication. Peter Hoyt, exec director of the In-Store Marketing Institute trade group, pegs in-store TVs failure on two reasons. First, wiring any retailer for TV is expensive, he said, and the investment costs are likely to be too steep to be recouped by advertising sales. Second, he said, Nobodys really cracked the code on the content. Nobody ever went to a store to watch a commercial, so if youre looking to put a 15-or 30-second spot on your in-store TV, it will fail. PRN and others have run ads ranging from two to eight seconds for in-store TV, but theyre not without creative challenges. The obstacles that make 15-second ads difficult get bigger still when cutting the time down even more. At best, marketers can convey a quick offer with the time they have on TV in store, said a longtime shopper-marketing-agency executive, and such messages can be conveyed cheaper through circulars or shelf ads. Could it just be that TV in stores, good as it always sounded, is a bad idea? Mr. Hoyt finds it very telling that News Corp. Chairman-CEO Rupert Murdoch, who knows plenty about TV and owns the largest U.S. in-store media network-NewsAmerica Marketing-has never pushed in-store TV. He does, however, see in-store TV working under the right circumstances-look at Checkout TV (another PRN product) and Gas Station TV at pumps. Both rely on longer-form ads and temporarily captive audiences, though they work much more like in-home TV and arent positioned to drive many impulse sales, he said. Mr. Wolinsky is banking on better execution to make the difference. Beyond TV, in-store digital applications are growing in number and apparently impact. Carmen Bauza, Walmarts VP-divisional merchandise manager of beauty, spoke glowingly last week

at the HBA Global Expo in New York about EZFace, a digital kiosk now used in about 50 Walmart stores that photographs a womans face then shows simulations of it with various cosmetics shades. Stop & Shop has had success with Modiv handheld units that interface with loyalty-card data to generate offers and streamline checkout by letting customers scan their own purchases in the aisles. And a person familiar with the matter says Modiv is preparing to launch an iPhone app that can do the same thing. Meanwhile, Mr. Hoyt contends the bulk of shopper marketing tech development today is screens on shoppers own mobile devices, not in-store TV. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MillerCoors thinks globally, but gets intimate locally; Rather than push one flagship around world, brewer bets on favored regional brands, strategies BYLINE: E.J. SCHULTZ; ESCHULTZ@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 921 words

Maybe its all the Polish jokes. But for whatever reason, beer drinkers in Poland apparently need a pat on the back from the rest of the world, SABMiller says it has discovered. One of the first things in the Polish psyche about

Poland is no one takes us seriously, said Nick Fell, the brewers marketing director. Whats incredibly important is external validation of Polish reasons to be proud. That notion led SABMiller to launch a campaign for its Tyskie brand featuring foreigners lauding the Polish brew and Polish people. From Peru to Romania, the brewer is making similar adjustments to its advertising, believing the key to winning the global beer battle is by pushing local brands and appealing to a home countrys customs, attitudes and traditions. The approach-outlined by Mr. Fell in an interview with Ad Agestands in contrast to its chief competitor, Anheuser-Busch InBev, which is seeking to bring its Budweiser brand to new markets across the globe in hopes of growing it to the scale of Coca-Cola. The stakes are high: With fewer opportunities to expand by acquisition, international brewers must find ways to boost their brands, especially in developing countries. The key to growth is going to be growing organically, unless people start drinking more, which they probably arent, said Harry Schumacher, publisher of Beer Business Daily. That means taking share from each other, or from wine and spirits. To do so, SABMiller-which has an 11.8% global market share compared with leader A-B InBevs 18.8%-is asking managers in its 75 countries to focus more on marketing and less on back-office tasks. The executives rely on sociologists, anthropologists and historians to find the right buttons to push when selling brands. Mr. Fell said the relatively small market share held by global mega-beer brands is proof that beer is inherently a local product and must be sold that way. He points to the top international brands, which hold only a sliver of total global market share. Heineken and Corona Extra have only about a 1.5% share each, according to Euromonitor International. If youre seeking to be the biggest player in beer, and the most profitable player in beer youre not going to win by focusing your effort behind a very small portfolio of mega global brands, Mr. Fell said. So SABMiller is pushing what Mr. Fell called local intimacy across its six-continent operation, including: Peru, where bottles of its Cusquena brand feature replica stones of an Incan wall that, he said, pay tribute to the elite standard of Inca craftsmanship that continues to this day in every bottle. Bottles of the Arequipena brand show fighting bulls, a tribute to the bull-on-bull sport fighting popular in a region of the country. Romania, where a TV ad shows an empty barrel of Timisoreana beer being rolled out of a bar then back in time through quaint villages, scenic landscapes and finally filled at the original 18thcentury brewer that created the beer. Ecuador, where the brewer plays off the nations tradition of holding many festivals by offering limited-edition packaging for Pilsener and giving away gifts and prizes to the community.

Poland, where the Tyskie campaign includes a group of Czechs raising their glasses to the Polish brew. To be sure, SABMiller still spends big on its international brands-Miller Genuine Draft was introduced in Colombia and Peru this year-but when doing so, the brewer looks to access a quick cultural reference that will help people understand what the brand stands for, Mr. Fell said. MGD in Colombia, for example, was positioned as an icon of cosmopolitan cool to appeal in urban areas. Sales of all MillerCoors brands have increased in Africa, Asia and Latin America, but dropped in recession-ridden Europe and North America, according to the companys 2010 annual report. If SABMillers global approach can be summed up by a barrel rolling through historic Romania, then A-B InBevs strategy might just be called Bud United, a tagline for its recent World Cup sponsorship. The brewer credits the promotion with keeping global volumes flat in the challenging first half of 2010, according to a company statement on its second-quarter results released Aug. 12. The World Cup [promotion] sold a ton of Bud, Mr. Schumacher said. The question is: Will people keep drinking it? Tests will come in Russia, where Bud was introduced in May, and Brazil, where it will hit stores soon. In its second-quarter report, the brewer described Bud as one of its Focus Brands-those that have the greatest commercial potential and will get the majority of our attention. At present, Bud only has a 0.7% global market share, when U.S. sales are excluded, according to Consumer Edge Research. Heineken is No. 1 at 1.3%, excluding home-country sales. Brett Cooper, a financial analyst who covers A-B InBev for Consumer Edge Research, said: Our view on Budweiser is it will be a slow rollout [globally], it will be priced above mainstream brands and, if successful, it will be a nice compliment to their existing business. Pre-merger Anheuser-Busch had only limited success selling Bud outside of the U.S. and Canada, he said. But A-B InBev has the advantage of rolling it out in markets where it already has a footprint, such as Brazil, where the companys brands command a 70% market share, he said. Still, Mr. Cooper said, Beer is a local business. Each market is going to be dominated by the local brands. Thats just the way that this industry has developed. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 1 PEOPLE STYLEWATCH BYLINE: NAT IVES; NIVES@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1006 words

SHOPPING TITLES SHARP EDITING BRINGS WEB SENSIBILITY TO PRINT No celebrity photo shoots required, just reader service and respect at fashion magazine that added 57% more ad pages through September Lots of fashion magazines cover high and low, but few are as relentlessly real about fashion as the sunny People StyleWatch, a magazine that makes cover stars out of boots, tops, bracelets and bags under $100. And none are adding readers and advertisers as rapidly. Look at its newsstand sales, where many advertisers gauge a titles vitality. It increased 15% in the first half of this year, compared with the first half of last year, according to its report with the Audit Bureau of Circulations. Single-copy sales across the magazines reporting to the bureau fell 5.6% by comparison. Subscriptions are flying as well, surging 36.1% in the first half. Total paid circulation climbed 17.7% to 882,683, giving its advertisers a big overdelivery on the guaranteed 725,000. The magazine, which has increased its circulation guarantee every year since 2006, is planning another bump for February 2011, when its rate base will go to 775,000. Oh yeah, and an 11th issue is joining the schedule in July. Advertisers are coming along almost as quickly as readers. As a young magazine that hadnt yet reached cruising altitude, People StyleWatch was able to keep climbing even in the brutal business climate of 2009. Magazines as a whole lost more than a quarter of their ad pages last year, but People StyleWatch added 24.4%, according to the Publishers Information Bureau. Theres either something special going on here or its still a young brand climbing toward arguably high potential.

There was always some fashion in there, but were becoming more and more core, said Karin Tracy, the publisher since February, when founding publisher Michelle Myers defected to Lucky, the original shopping title from Cond Nast. There was some education that had to be done there because we look different from a traditional fashion magazine. But thats what works. Under a deal with JCPenney that brought the magazine increased ad pages, People StyleWatchs Must-Haves editorial feature is appearing now in 1,100 JCPenney stores around the country. Starting next February, shoppers at the stores will get special subscription offers, too, to the magazine and its siblings at Time Inc. They are a very talented and creative team who give instant credibility to our style authority, said Myron Ullman, chairman-CEO of JCPenney. Much of the advertising growth this year has come from fashion and retail marketers, with new buys from brands including Marc Jacobs, Michael Kors, Levis, DKNY, Lord & Taylor, Piperlime and Express. Theyve all realized that times have changed, and in order to get this consumer you have to think differently, Ms. Tracy said. And I think a lot of it also came from them getting comfortable with the web. We are almost a print vehicle that takes the best practices from the web. That means the magazine has a singular function and a tight focus, much like a website that appeals because it gets something done. Susan Kaufman, the editor since its official 10-times-a-year launch in 2006, keeps her treatments of boots and bags fast and succinct. And she keeps a very close eye on reader reactions. At first the magazine was doing shoots with celebrities like Rachel McAdams and Jessica Alba. I came from Glamour and Mademoiselle, pretty traditional fashion magazines, Ms. Kaufman recalled. In fashion magazines you do shoots. Over time when we were getting back the reader reports, it was becoming very clear that those were the lowest-rated pages in the magazine, she said. After about four or five issues, I said to myself, Why are we doing this? They dont even like it. Why not use paparazzi photos of celebrities in real clothes, not the clothes we put them in? Theres no payback to the reader, so we dont need to be traditional, we dont need to be like other magazines. She once explored slightly longer packages-if you can call a page-and-a-half of trying out a stiletto a longer article, Ms. Kaufman said-but reversed course when readers started skimming. Even that was too much for the reader, she said. They really want that quick snap. It may attract consumers like a website, but People StyleWatch holds them like a magazine. Readers spend an average of 109 minutes with an issue, according to the titles internal research. And while they enjoy the celebrity photos, the magazines real benefit is that its actionable. As editors we are curating and editing a lot of fashion noise narrowing down to the things you need to know, the best things you need to buy at the best price points, Ms. Kaufman said. Were sort of doing the best of the web and the best of magazines, and thats probably another reason it has

resonated with readers. Its not obvious to readers, or probably much of the industry, how much editorial work goes into executing on the mission, looking for ways People StyleWatch can evolve, exercising discipline when an experiment proves to be a digression, and getting questions of taste and style right issue after issue. This is not a magazine thats getting nominations for National Magazine Awards. But all those elements are required and supplied in good measure by Ms. Kaufman and her staff. And there are tricks to getting a shopping magazine right-as former shopping magazines from Cargo to Vitals to Shop Etc. could attest from their graves. Respect is key. If were doing an Under $100 story, were not going to show a T-shirt for $99, Ms. Kaufman said. Thats insulting to readers. She added: I ask around the office, ask the assistants, because I want the reality, when a lot of fashion magazines are pretty insulated. For its obvious and still-growing pull on readers and advertisers, not to mention how easy Ms. Kaufman makes it all look on the page, People StyleWatch is the Advertising Age Magazine of the Year, and Ms. Kaufman is our Editor of the Year. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 Companies tread lightly with political donations; Corporations may not be tying cash to brands-but that doesnt mean theyre not giving BYLINE: E.J. SCHULTZ; eschultz@adage.com SECTION: Pg. 4 Vol. 81

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When Target Corp. spent $150,000 in support of a candidate who opposes gay marriage, the backlash from its employees and liberal groups was swift and loud, eventually forcing the retailer to apologize. The lesson for other companies on how to deal with newly loosened campaign-donation rules: Act carefully. Or act quietly. Only a handful of companies are on record donating directly from their corporate accounts to political causes as is allowed by the Supreme Courts landmark Citizens United ruling. General Mills CEO Ken Powell last week pledged that the Minneapolis-based food giant would not engage politically. We have not given to any of the so-called independent political-expenditure organizations, [and] we have no plans to do so, he said in response to a question at the companys annual shareholders meeting. The audience responded with approving applause. But scores of other companies could be in the political game. They are just playing anonymously, routing money though independent groups that dont have to immediately report donors, campaignwatchdog groups say. Were seeing evidence of it all around, said Craig Holman of consumer-advocacy group Public Citizen. Its all going through these third-[party] groups that arent telling us where their money is coming from. The Supreme Court ruling and related regulatory decisions freed corporations to spend unlimited amounts on independent expenditures-money that can be used to advocate for or against a candidate as long as the advertising is not coordinated with the politicians campaign. Theoretically, companies could act alone, slapping their companys name on a political ad. But thats not happening, analysts say. Most corporations tend to be risk-averse, and, obviously, they have customers who are Democrats and Republicans, said Evan Tracey, president of Kantar Medias Campaign Media Analysis Group. We just havent seen anybody put their own brand out there. But the federal system provides other avenues. For instance, companies can give to third-party groups without having to immediately reveal the donations. One vehicle is a super PAC, through which organizations can take unlimited donations from corporations or unions for advertising. More than 30 groups have been set up so far, supporting both liberal and conservative causes, according to the Center for Responsive Politics. The groups only have to reveal donors periodically. The next date is Oct. 15. Another way to give is to nonprofit groups, known as 501(c )(4)s, that face very few donor-

disclosure requirements. Examples include Crossroads GPS, a group affiliated with GOP strategist Karl Rove, which has run ads worth more than $2 million attacking Democrats in Kentucky, Pennsylvania and California. An affiliated super PAC, called American Crossroads, in August reported $400,000 from insurance company American Financial Group. The Target donation came to light because Minnesota, where the company is headquartered, has strict disclosure rules for state donations. A move to increase disclosure for federal races is stalled in Congress in the face of opposition from Republicans who say it violates free speech. Targets donation went to a pro-business group called MN Forward, which is backing GOP gubernatorial candidate Tom Emmer, who opposes gay marriage. Best Buy and 3M have also given to MN Forward, but Target is getting most of the attention. Target at first defended the donation by citing the groups pro-business agenda, but the move was seen as a betrayal by the gay community. Target has prided itself on its pro-[gay] stance in the past, said Akshay R. Rao, director of the Institute for Research in Marketing at the University of Minnesotas Carlson School of Management. Thats why the backlash against Target was so severe. Liberal groups organized boycotts and protests. Target CEO Gregg Steinhafel in August issued an apology to employees. Timothy Baer, Targets executive VP-general counsel, told reporters at Targets recent media day that the retailer is reviewing its decision-making process so we dont create the kind of situation like with Minnesota Forward, and we dont offend our team-member base. Mr. Tracey said organizations that oppose corporate donations were ready to pounce on Targets donation, the idea being, If we can make an example out of Target, then who knows how much money thats going to keep on the sidelines? At the same time, New York Citys Public Advocate, Bill de Blasio, is waging his own war against company donations. He says hes already secured pledges from Dell, Microsoft, Xerox, ColgatePalmolive, IBM and others who say they wont spend company money on elections. Those who have spent include Target, Best Buy, Massy Energy and International Coal, according to the office. Plenty of other firms do not have formal policies prohibiting spending company money on politics, including Verizon, McDonalds and Walmart, according to the office. CONTRIBUTING: NATALIE ZMUDA LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 4, 2010 Why the bad economy has been good for Target; Downturn pushes retailer into shifting agency structure, marketing, media and renewing its focus on innovation BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 1163 words

The recession has given retail a swift kick in the butt-but in the case of Target, its done so in a good way. Using the recession as a catalyst, Target has made fairly radical shifts to its agency structure, marketing and media approach and overall business operations. Within the last 18 months, the cheapchic retailer has named Wieden & Kennedy its first lead agency, shifted its marketing approach from shiny, happy people to something more closely resembling reality and opened its doors to the media. Its also rolled out the P-Fresh grocery concept, tweaked in-store merchandising, unveiled a smaller urban-store format and introduced the 5% Rewards loyalty program. There was more innovation happening within Target during this recession than in any time in my 25 years with the corporation, said Michael Francis, exec VP-chief marketing officer, during an interview with Ad Age in New York. The recession caused us to challenge every assumption. It was a catalyst for a lot of more overarching changes. One major change was the naming of a lead agency, a departure for Target, which had relied on a roster of primarily boutique agencies. Wieden had been on Targets roster for years, but it was granted the lead-agency distinction without a review just over a year ago. It was time to bring in a more thoughtful quarterback, Mr. Francis said of the move. Given a number

of new initiatives and the changing media and marketing landscape, Target felt it needed a partner to help align its messaging and approach across channels. Wieden does not directly manage Targets other agency relationships, which include shops with Minneapolis ties, like Haworth, Olson and Peterson Milla Hooks, as well as AKQA, Huge and Mother, among others. But it does work in tandem with the other agencies to execute campaigns. Often Wieden will craft the broad architecture of a campaign, even if another agency takes the lead on the project, Mr. Francis explained. With Wieden in place, Target went about fine-tuning its marketing message and evaluating the resonance of its tagline Expect More. Pay Less. It aimed to more closely reflect reality, as well as convince consumers that it was just as cheap as rival Walmart. We let too much space drift between Expect More and Pay Less. Its a period, not a paragraph, said Mr. Francis. Consumers didnt really see their lives reflected in the execution, the post-modern homes and shiny, happy people that populated a lot of the Target brand were out of step. It took a few tries to get the tone right. The short-lived Collections campaign featuring actor Alan Cox was not distinguishing. And some of the work from Wieden for last holiday season lacked joy and warmth. One spot seemed to cast doubt on the existence of Santa Claus, while another put a damper on Christmas morning with talk of the recession. I have no regrets, Mr. Francis says of those campaigns. It was a shift we needed to make. The construct now is crystal clear. Indeed, the retailers latest campaign, Lifes A Moving Target seems to have hit the right note. It entails upward of 70 15-second spots, each highlighting a specific product, ranging from flu shots to pants to cheese. Some spots are humorous, some are not, but they all revolve around the idea that the pace of life is complex, said Mr. Francis. The campaign, which does use co-op dollars, has proven popular with vendors and consumers alike. Mr. Francis says vendors are now approaching Target and asking to participate. And the length of the spots has allowed the retailer to be more creative in how it buys ad time. The fifteens for me are a wonderfully creative way to stitch together messaging to ensure the campaign stays fresh, Mr. Francis said. The likelihood of any consumer seeing all 70 spots is pretty low. And I dont have any of the seasonal constraints that I might otherwise have had. Heading into 2011, Mr. Francis is optimistic the retailer will be able to win, even as consumers continue to feel the pinch of a tough economy. Sales at stores open at least a year have been positive for eight of the last nine months, rising 1.8% in August. Walmarts same-store sales, by contrast, fell 1.8% in the second quarter and 1.4% in the first quarter. Walmart no longer reports sales on a monthly basis. We believe weve negated the price perception issues, he said. We have some of the highest growth weve had in our measured history. More importantly, weve drawn greater frequency of visits, and weve been able to grow our share of visits. The key for 2011, Mr. Francis says will be ensuring Target offers customers ample rewards for visiting. One way it plans to do that is with 5% Rewards. The program will offer consumers 5% off items bought with a Target Visa, Target credit card or Target debit card. It will launch nationwide in October, with a robust multimedia marketing effort, handled by agency Little & Co., Minneapolis.

Another way is through improved stores. By the end of next year, the retailer expects it will have spent more than $2 billion over a two-year period to renovate 740, or roughly 40% of its stores. The updated stores include an expanded fresh grocery assortment, dubbed PFresh, which features fresh fruit and vegetables, meat and dairy products. Throughout the store, new, shorter displays enable shoppers to more easily view products, while updated signage and trendy lighting give the space a more modern feel. The beauty, electronics and jewelry sections have also been overhauled, allowing customers to more easily browse merchandise. And there are smaller updates as well. The space between clothing racks has been widened, for example, to better accommodate shopping carts. Target executives showed off a renovated store during its first Media Day in Minneapolis. The event itself signaled a sea change for the historically press-shy retailer. We, as an organization, believe that a more transparent and authentic relationship with media is going to be important to how we manage the brand for the next decade, Mr. Francis said. To that end, Mr. Francis was candid in not only addressing marketing shifts but also the recent controversy surrounding Targets donation to MN Forward, a political action committee that is backing GOP gubernatorial candidate Tom Emmer, who opposes gay marriage (see related story, P. 4). Mr. Francis says protests and boycotts appear to have had a negligible impact, given sales for July and August were in line with expectations. But the retailer is still taking the situation seriously. We are reviewing our decision-making process for future contributions in the public policy arena, and engaging a variety of team members, leaders and our own GLBT Business Council members in that approach, Mr. Francis said. The bottom line is were using the benefit of time, our recent experience and team member insight to ensure our political activities fully reflect our values, interests and priorities. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

October 4, 2010 MAGAZINE A-LIST; 2 THE ATLANTIC BYLINE: SIMON DUMENCO; SDUMENCO@ADAGE.COM SECTION: Pg. 12 Vol. 81 LENGTH: 827 words

THE GRAND OLD GLOSSY AS DIGITAL POWERHOUSE A publishing team takes one of the worlds most storied print brands and builds an ultramodern, multiplatform juggernaut, extending its influence while discovering the joys of (gasp) profit. When rich guys buy prestigious but historically cash-hemorrhaging magazines, the presumption is always that its about the personal brand-i.e., the rich guys ego-as opposed to the publishing brand. Ownership of a trophy property, being the savior of a thinky title, is supposed to be reward enough. Absorbing continuing losses is seen as cultural duty, a form of philanthropy. Turns out David Bradley had other ideas. When the chairman and owner of the Atlantic Media Company installed Justin Smith as president of Atlantic Consumer Media in 2007, he set in motion a radical transformation of The Atlantics business operations, having already shaken up the edit side by moving the magazines editorial headquarters from Boston, where it had resided since its birth in 1857, to D.C. in 2005, and hiring New York Timesman James Bennet as editor in chief in 2006. (Mr. Bradley purchased what was then known as The Atlantic Monthly from real estate magnate Mort Zuckerman in 1999.) Mr. Smith came from the U.S. edition of Felix Dennis news digest, The Week, where he was founding president and publisher; hed previously been at The Economist and the International Herald Tribune. In the spring of 2008, he hired Wired publisher Jay Lauf to become VP and publisher. Wait, what? The Atlantic, the dusty literary institution once home to Mark Twains prose, raiding not only a future-forward title, but one published by gilded glossy conglomerate Cond Nast? I do remember being a little bit embarrassed inviting Jay over to look at our tiny little one-room offices with a dangling wire and a light bulb-a temporary space on 42nd Street for a new Manhattan sales operation-but then I realized that hes someone who had not only operated at a very glamorous level in this business, but someone who has really been trained in the trenches as well, Mr. Smith said. Before Wired, Mr. Lauf had been ad director on the U.S. launch of gadget title T3 and had previously been with tech-trade publisher Customer Interaction Solutions. Given that Mr. Smiths vision was to convert The Atlantic into much more of a digitally focused multiplatform brand, Mr. Laufs background made perfect sense; it helped that Mr. Lauf was a huge fan of The Atlantic and was able

to name-check his favorite Atlantic writers and stories when he first ran into Mr. Smith, by chance, at a publishing event. Hiring Jay was like finding the needle in the haystack, said Mr. Smith, He is a strategic driver of revenue who cares deeply about the world of thinking and ideas. With the help of a slate of provocative, prolific bloggers including Andrew Sullivan and Ta-Nehisi Coates, a revamped TheAtlantic.com has seen its audience surge. Brand extension TheAtlanticWire.com, an opinion aggregator, is just a year old but is already gaining a major audience of its own. Digital revenue, which contributed 16% of overall ad revenue in 2008, grew to 32% last year and is on track to reach 36% by the end of this year. Meanwhile, print-ad revenue is projected to be up 26% in 2010. The Atlantic is also overdelivering on its paid circulation guarantee of 450,000 copies, up from 400,000 in 2008. This year, The Atlantic has 65 high-powered events on its calendar, including the Aspen Ideas Forum, Future of the City and Cyber Security. Elizabeth Baker Keffer, the president of Atlantic Live, has done a masterful job of building out that business in a way that makes us a very differentiated media brand, said Mr. Lauf. That differentiation is evident in the caliber of speakers and panelists Atlantic Live draws, from CEOs like Googles Eric Schmidt to various members of the Obama cabinet. The eagerness of D.C.s power elite to commune at Atlantic events makes perfect sense given that the magazine and TheAtlantic.com are considered must-reads among the halls of power (e.g., The Washington Post revealed that President Obama is an avid reader of Mr. Sullivan). No surprise, then, that the Doublebase 2010 MRI report ranks The Atlantic No. 1 against all 214 measured magazines for Influentials, the 10% of the population that influences what the other 90% think, do, and buy. Mr. Smith, who this year was promoted to president of Atlantic Media Co., giving him oversight of The Atlantics sibling titles including National Journal, noted that all the momentum is making a mark on the bottom line. Were going to make a profit at The Atlantic for the first time in many decades, he said. And weve added almost 20 new head count this year. In 2010, that amounts to something of a minor miracle, which is why The Atlantic takes the No. 2 spot on this years Advertising Age Magazine A-List, and why Justin Smith and Jay Lauf are our Publishing Executives of the Year. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 Why Time Warner Cable stuck with its name; After 18-month search, company goes for new logo, design and branding push rather than risk losing brand equity BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 920 words

When time Warner cable spun off from corporate parent Time Warner in March 2009, one obvious question hung over the No. 2 cable companys head: Why keep the name Time Warner Cable when it was no longer a Time Warner company? So last January, Time Warner Cables chief marketing officer, Sam Howe, and his agency partners at WPPs Ogilvy embarked on a name search, internally dubbed Project Mercury, to see what names, if any, could better define the newly independent company. The search was voluntary (the company had no contractual obligation to find a new name), exhaustive (dozens of names were explored, two were seriously considered) and ultimately, after 18 months as a standalone company, Time Warner Cables new name is Time Warner Cable. When we first looked at the direction we wanted to take as our own company two years ago, we asked ourselves, What are we to people? We didnt want to just be a cable company, Mr. Howe said, noting that the company considered removing the Cable from its name as well. But we think well create distance from the parent in time. Those words together still carry a lot of equity. Instead, Time Warner Cable will debut a revamped logo, design and branding campaign in an effort to establish a unique identity both as a brand and as a cable company. That includes ditching the RoadRunner logo it famously licensed from former corporate sibling Warner Bros. to advertise its internet service (although it will keep the brand name) as well as the capitalized, Time magazineinspired font in its corporate logo. Time Warner Cable will now use a proprietary font, TWC Round, that draws less attention to the Cable part of its name so that its other products-phone, internet, ondemand-can get equal play. The companys logo, an eye/ear hybrid inspired by the work of Swiss

artist Steff Geissbuhler, will also be featured more prominently. A series of TV spots debuting this week, created with Ogilvy Group Creative Director Tommy Henvey, should also look a little different. Gone are the competitive ads featuring actor Mike OMalley calling out Verizon Fios for its deceptive billing practices. In their place are ads featuring families with active lifestyles made easier by Time Warner products: a father pitching baseballs to his son while programming a game from his Remote DVR Manager; a couple who can watch an ondemand movie at the same time on any TV in their house; a married couple who can listen to voicemails from their son via e-mail. Time Warner Cables quest to find a less-corporate image is hardly without precedent. In 2006, Cablevision rebranded its cable service as Optimum to give it a distinct identity, while Comcast just renamed its service as Xfinity. But without a formal name change, Time Warner Cables branding challenge lies within its design and marketing. Its undeniable that cable companies suffer from public-perception issues, so a fresh coat of paint sometimes is in order, said Ian Olgierson, a multichannel TV analyst at SNL Kagan. It doesnt take a tremendous amount of savvy to differentiate between Time Warner Inc. and Time Warner Cable, and with consumers theyre sort of different products. Theyre not changing the formula of Coke; theyre changing the can of Coke. The campaigns flexible tagline is Moving technology forward to bring you back and is Time Warner Cables way of positioning itself as a lifestyle brand that happens to have innovative technology, especially when compared to the tech-heavy ads favored by its competitors. Kim Bates, Time Warner Cables VP-marketing communications strategy, cited Target, Google and Apple as some of the aspirational brands shed like to see the company associated with one day. Targets logo is this icon thats taken on another life. We want to make our eye/ear a part of the culture, she said. Googles logo changes all the time. We need a brand that can change and feel fresh. That flexibility will also soon apply to Time Warner Cables products themselves. Mr. Howe said the company will debut a different pricing architecture early next year that will give customers more options in creating their subscriptions, while customer service will also get an upgrade. The companys DVR products will be expanding in a big way next spring with the debut of products like Look Back, which will allow customers to watch programs they missed for up to three weeks past their initial airdates. Focusing on branding while rivals wage war against each others products can be risky. Secondquarter pay-TV subscriptions were challenged across the board, down 216,000 customers across cable, satellite and telco households, due largely to the recession. Time Warner Cable in particular lost 111,000 basic video subscribers during the time period, though it saw growth in digital video subscriptions (50,000 adds) and bundled customers (68,000). Its because of those trends that Mr. Howe thinks the company can move beyond making devices and networks key parts of its marketing messaging. Everyone has a theory that the subscriber trends are due to cord-cutting, but theres no greater number of cord-cutters year-over-year. Maybe the intent to cord-cut is up, but were not seeing it, he

said. We think this brand gets you back into that space of not wanting to cut the cord, or at least assist you into time-shifting if you didnt think you could before. Were a platform company, not a bundle company, and the number of customer relationships has stayed quite strong. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 9 VICE BYLINE: SIMON DUMENCO SECTION: Pg. 17 Vol. 81 LENGTH: 365 words

A cult glossy spawns a global media empire, and gets props from-and a partnership with-CNN Itd be easy to dismiss Vice as a cultish niche title-a street-smart youth-culture magazine with a famously ribald editorial sensibility. But a growing number of major players-including CNN, which this spring partnered with Vices online broadcast offshoot, VBS.tv-are recognizing that the ultimate glossy outsider has quietly spawned a global media empire while becoming an unlikely journalistic powerhouse. Headquartered in New York since 1999 (it was born in Canada as Voice of Montreal in 1994, then rebranded in 1996), Vice is published in 24 editions distributed in 27 countries, with worldwide circulation of 1.1 million. It is the first primarily free magazine ever to make Ad Ages A-List (paid

subs aside, Vice is mostly distributed at boutiques, bookstores and other hot spots in urban areas). That CNN deal, which puts VBS content on CNN.com, is recognition of Vices unwavering devotion to global reporting. In print, hands-on cofounders Suroosh Alvi and Shane Smith, together with editor in chief Jesse Pearson, somehow manage to comfortably interweave hard-hitting reports from Afghanistan and Uganda with outr fashion spreads and sassy pop-cultural coverage. Think Rolling Stone in its heyday crossed with Tibor Kalman-era Colors crossed with a cracked-out National Geographic. On VBS.tv, led by creative director Spike Jonze (of Being John Malkovich and Where the Wild Things Are fame), you can click from a report on the gun markets of Pakistan to a show called Skate Europe. The site got 2.2. million U.S. visitors in August, according to ComScore. Once (and still) known for its ads from edgy street-fashion labels, Vice increasingly also pulls in major marketers like Nike, Diesel, HBO and Levis. And this year, Vice launched The Creators Project (thecreatorsproject.com), a co-branded effort with Intel. Its a new global initiative to identify leading artists who are pushing creative boundaries through technology, explains Smith. The empire of cool has also spawned record label Vice Music, Vice Films, Vice Books and Virtue Worldwide, a 50-person communications agency. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 10 WIRED BYLINE: NAT IVES SECTION: Pg. 17 Vol. 81

LENGTH: 389 words

Bold cover stories, slick redesign and a coveted iPad app keep readers-and advertisers-wanting more Some of you are reading Wireds accolades here on Ad Ages iPhone app, while more of you are reading it in print and an even larger crowd of you are reading this on the web. Its just another suggestion that the web isnt dead, contrary to Wireds September cover story proclaiming, well, The Web Is Dead. But thats OK. If Editor in Chief Chris Anderson dared to use a little hyperbole in a magazine cover line, hes not exactly the first magazine editor to do it. He also, as Gawker pointed out in one of countless takes on the piece across the, um, internet, gave the creators of the Web 2.0 conferences the opportunity to basically tell the editor hes nuts. And after earlier years introduction of The Long Tail and a robust argument over free content, hed gotten seemingly everyone talking once again-about something important and intelligent no less. That sort of resilience is starting to look like a Wired trademark. In September 2009, ad pages for the years issues to date had plummeted 43.9%, according to the Media Industry Newsletter. It wasnt the worst showing at Cond Nast, but this year VP-Publisher Howard Mittman delivered a Januarythrough-September rebound of 24.5%-the companys best. Ad pages in the September issue itself topped last years September by 33.1%. Readers, meanwhile, kept eating it up. Single-copy sales leapt 14.5% in the first half while paid subscriptions grew 7.4%, according to Wireds report to the Audit Bureau of Circulations. Wireds audience is obviously tailor-made for Twitter, but if strong newsstand sales tell advertisers something good about a titles vibrancy, Wireds 612,376 Twitter followers ought to say something encouraging about its brand as well. Wired also took home a National Magazine Award for the best single topic issue-J.J. Abrams Mystery issue in May-and for best design, its third such win in three years. And finally, iPad users downloaded Wireds long-anticipated iPad app edition 24,000 times in its first 24 hours and a total of 105,000 times so far, according to the magazine. Wired creative director Scott Dadich was subsequently named to the additional post, a newly created one, of executive director of digital magazine development across Cond Nast. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 3 ALL YOU SECTION: Pg. 13 Vol. 81 LENGTH: 303 words

Real women, real retailers and real products make for real big numbers for monthly mag Some magazines win their way onto the A-List with a novel strategy or an admirable comeback story. Others, like All You, just barge in. This year the budget-minded, recession-friendly title seemed to get every result it wanted. Subscriptions increased 25% in the first half of 2010 from the first half of last year-despite higher subscription pricing as All You sold more of its own subscriptions and relied less on third-party agents. All You subscriptions averaged $1.25 a copy in the first half, more than Elle or Kiplingers Personal Finance. Overall paid and verified circulation increased 10.7% to nearly 1.1 million, overdelivering on All Yous promise to advertisers by 7.2%. Speaking of advertisers, All Yous ad pages in the issues from January through September not only increased-by 14.2% from the equivalent period in 2009, compared with a 2.2% gain for monthlies as a whole-but they recaptured their 2008 heights, according to the Media Industry Newsletter. When Time Inc. introduced All You in 2004, not many people wouldve suggested that the world needed another womens magazine, said Publisher Diane Oshin. But women wanted a title that featured real women like them and shared a focus on affordable living. Its only newsstands were in Walmart. It worked. We were able to distinguish ourselves to the consumer, Ms. Oshin said. The products in the magazine were products that she used, the retailers in the magazine were the retailers where she shopped. But will their momentum cool if the economy recovers ? The consumer has definitely recalibrated

her expectations and shopping behavior, Ms. Oshin said. So if indeed we are out of a recession I know this brands relevance has cemented itself into perpetuity. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 AVENGERS BEAT DR. DOOM, BUT CAN THEY CONQUER FICKLE MOVIE PUBLIC?; New film wont be hitting screens until 2012, but Marvels promotional activity is ramping up for super hero brand BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 832 words

Marvel Entertainments superhero team The Avengers has saved the planet from time-traveling world conquerors, alien baddies and outbreaks of witchcraft. Now they have to take on an even more daunting task: getting would-be moviegoers excited about a film that isnt slated to open until 2012. Comic-book aficionados are well aware of Marvels ambitious plan: It is releasing several films starring individual characters such as Iron Man, Captain America and Thor in hopes of stoking even greater buzz for a new movie about one of its superhero teams, The Avengers (made up of Iron Man, Captain America, Thor and others). The world at large, not as intensely interested in the comings and goings of people in garish costumes,

may just shrug. To counter that possibility, Marvel has to work to ensure each film in the series leading up to its Avengers extravaganza-Thor and Captain America will be released in 2011-is well received critically, is financially successful and can be used to drive buzz about and reference to the larger story at hand. Marvel is about to use another avenue to spark buzz for its mammoth movie project. The company is working with various licensees to have products labeled with the phrase Avengers Assemble hit the marketplace, largely starting in late spring (although some product has cropped up in months past with the release of Iron Man 2). Youre going to see Avengers Assemble logos and icons take more prominent positions, said Paul Gitter, president-consumer products for Marvel Entertainment. On a lot of the packaging youre going to see everywhere, Marvel does tie back into The Avengers, and the umbrella platform we have set up. Among the goods set to roll out are a full line of action figures, vehicles and role-playing items from toy maker Hasbro; arts and crafts products from Crayola; die-cast toy vehicles and play sets from Maisto; and footwear from Brown Shoe. Additional licensees include Fruit of the Loom, Kids Headquarters, AME and Jem Sportswear. The idea, said Mr. Gitter, is to keep fans and would-be moviegoers paying attention not only to news about each release, but also to a broader story playing out over a longer period of time. Youre going to build momentum by using each of the preceding brands almost as a marketing vehicle for things to come, he said. Give consumers a way to live the story and you will ignite their interest in the story brand, and then the brand story of the movie itself, said Sophie Ann Terrisse, CEO at STC Associates, a New York brand-management consultant. Theres a larger goal, too, said Mr. Gitter: The big play here is that Marvel is really looking at our films more as brands and less as films. The goal here is to become more of a household name similar to Procter & Gamble and Johnson & Johnson. We want Marvel to take a much greater position in the minds of the consumer when they are thinking about our properties. Marvel, recently acquired by Walt Disney, has strong reason to actively manage its characters. The company produces its films, but partners with other studios-in the case of The Avengers, its Viacoms Paramount-to get the movies out to the public. Sony distributes its Spider-Man movies, while News Corp.s 20th Century Fox has handled its X-Men movies. Because box-office results can be fickle, Marvel also needs to keep a larger narrative unfolding in order to ensure seats will be filled if any one movie misses the mark. Following the larger story seems to be driving anecdotal buzz: Theres been nearly nonstop chatter about the movie from its stars and director, something which is almost unprecedented when a movie is still in preproduction. Actor Jeremy Renner has been on MTV to discuss the uniform being worn by his character, Hawkeye, a Marvel hero who has excellent archery skills. Actor Mark Ruffalo, slated to take over the role of the Hulk, has generated conversation by discussing the special effects

expected to be used with the rampaging green juggernaut. Additionally, each separate film contains subtle clues-Easter eggs, in comic-book-movie parlancethat refer to the broader Avengers story. Captain Americas star-spangled shield turned up in Iron Man 2, for instance. Such appearances may play more directly to hardcore comic-book fans who know what the icons represent, but they spark chatter. One academic who studies comic-book culture agrees with the strategy. Even if the movie is years off and dependent on other properties, Marvel has already kind of assured the fan public that it will be for them, making it more and more an eagerly anticipated event, said Bradley Ricca, a lecturer in English who teaches about comics at Case Western Reserve University. Whatever Marvel learns in its efforts, expect to see lessons learned applied well beyond the release of The Avengers film, said Mr. Gitter. He alluded to a plan in development pegged to 2017, but declined to offer details. As they say in the comics, to be continued. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 After Cadillac curse, BBH looks for a reset; Losing the biggest account it ever won set off series of turbulent months filled with executive departures BYLINE: RUPAL PAREKH; rparekh@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 600 words

When Bartle Bogle Hegartys contract with General Motors for Cadillac expired Oct. 1, you could almost hear a collective sigh or relief. The account-which initially seemed the biggest boon in the history of BBHs U.S. office and turned into something of a curse-is gone. Ironic, since it was the very thing that seemed to validate the British import. It had finally, after a dozen years on U.S. soil, earned the respect of a large, iconic American brand. It was late 2009 and Emma Cookson, then-CEO of BBH, New York, had called an all-hands meeting to brief the 140 or so staffers how it was going to restructure to be more nimble. She was so sure the shop had knocked its recent Cadillac pitch out of the park that she viewed this reorganization as a precursor to handling the complex $270 million client. At one point, Ms. Cookson said If we win Cadillac, then stopped in her tracks and stressed, when we win Cadillac She was right to be so sure: In January, BBH learned it had beaten the likes of indie McKinney; Publicis, New York; and Interpublic Group of Cos. shops Martin Agency and Gotham for GMs Cadillac business. But it lasted a mere six months before BBH was fired in June in favor of Fallon, Minneapolis, by GMs new CMO, Joel Ewanick. As BBH, New York, CEO Greg Andersen puts it, We won the premier pitch of 2010 in Cadillac, only to lose it as a result of mind-boggling client turnover and direction changes. To be sure, the office has had its ups and downs, but Cadillac marked an unprecedented period of turbulence thats had the industry wondering: will the U.S. outpost of the famed British micronetwork ever find solid footing on this side of the Atlantic? It was enough to prompt Ms. Cookson, who after the Cadillac win stepped down as CEO to run the carmakers account, to take a two-month sabbatical in Europe. And it was the point in time after which several other top leaders in the office (much like that Johnnie Walker spot) took a long walk. I dont know if Cadillac was the last straw, or the only straw, said one search consultant. Oftentimes at agencies once someone leaves, people start to pour out. July saw the exit of chairman and industry veteran Steve Harty, who was charged with growing BBH in the U.S. by creating new offerings and examining potential acquisitions. In August, Ben Malbon, one of the founders of BBH Labs, announced he was going to Google. Last week came the most surprising departure of all, that of Chief Creative Officer Kevin Roddy, a move that BBH principal John Hegarty publicly chalked up to a disagreement over the creative direction of the office. Mr. Roddy didnt return calls for comment. That the shop has so far this year come up short in pitches-it was just cut from the Prudential reviewis a thorn in BBH worldwide CEO Simon Sherwoods side. Were not winning as much as we need to,

but were getting into the pitches, Mr. Sherwood told Ad Age. Weve come second a couple of times, which is frustrating, and were trying to figure out why that is the case. Confidence is a part of this. Its like being a part of a sports team; you get used to winning pitches, and then you do. For his part, Mr. Andersen is pretty defensive about the perception that BBH is wobbly. While it might look like a company going through a difficult time, the reality is we are making changes to our business that set us up for the future, he said. Were not waiting for the industry as a whole to figure it out before we make our move. Added Mr. Sherwood: Were now through that turbulent period. What happened [last] week is the end of it. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 4 COOKING LIGHT BYLINE: THOMAS PARDEE SECTION: Pg. 13 Vol. 81 LENGTH: 269 words

Making the right deals and listening to readers keeps Light the largest mag in its category Magazines may not be recession-proof, but food is-and for print editions that can harness the

necessity of good cooking thats time-and calorie-efficient, that may be enough. Take Cooking Light, the 23-year-old epicurean linchpin of Time Inc. Its holding steady as the food categorys largest, with paid circulation of 1.78 million in the first half of the year, up 2% from the first half of 2009. And its ad pages from January through Sept. have surged 18% over the same period in 2009, according to Media Industry Newsletter stats. Much of Cooking Lights success owes to substantial investment from Time Inc., said VP-Publisher Stephen Bohlinger. They invested in a wise way, in focus groups, in talking to our readers, and in listening to what was important to them, said Mr. Bohlinger, who took the reigns as publisher in December 2008, which many consider the trough of the Great Recession. The magazines redesign last year, directly reflective of reader feedback, increased focus on product. Mr. Bohlinger said Cooking Light is knee-deep in developing an iPad app as well, part of its expanding digital strategy. Cooking Light has also inked a deal with food-service provider Aramark, which will feature its recipes in the dining rooms of dozens of Fortune 500 companies nationwide, including Johnson & Johnson and JP Morgan Chase. It expects to have up to 150 chefs tables open by the end of 2011. We have our 25th anniversary coming up [in 2012], and we just going to continue to innovate, Mr. Bohlinger said. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 DMA struggles to reinvent itself as direct evolves in digital world; Under new CEO Kimmel, association strives to ramp up relevance, embrace social-media era

BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 870 words

When walking the exhibit floor of the Direct Marketing Association next week in San Francisco, pay careful attention to the vendors. Odds are the majority of them will be mailers, list providers, printers and letter shops-not exactly top of the list for Firstborn, Digitas or R/GA. Which goes to illustrate the conundrum the 93-year-old trade organization is facing: Its smack dab in the hottest space in marketing-one-to-one communication-but has struggled to evolve into the new world of direct exemplified by the likes of Twitter, Facebook and Foursquare. They should be the center of leading-edge technological advancement in direct, one agency head said. They could be the biggest show around. Steve Cone, a longtime direct marketer and former CMO of Epsilon, was harsher in his assessment. The DMA is not a relevant organization for the digital space, he said. It should be, but its just not. For its part, the DMA concedes that it has a ways ago, though it has not lost relevance. Its membership roster, at 2,720, is down 10% from 2008 but the organization cites agency and marketer consolidations as part of the reason for the decline. It notes that influential new members that have come aboard in the last year including Walmart, Target, ESPN and Time Warner Cable. The organization in two recent years has also operated at a deficit, with expenses exceeding its falling revenue. Total revenue plunged 23% to $30.1 million in the year ended June 2009, according to Ad Age DataCenters review of DMAs federal tax return. That year, the trade associations expenses exceeded revenue by $4 million. DMA also ran a deficit in the year ended June 2008, when its revenue slipped slightly (down 0.3%). However, CEO Lawrence Kimmel said the DMA is financially stable now, and if you were going to project the year out from where we are right now in our fiscal year, which began on July 1, we would be in the black about $2.6 million. The $4 million deficit number is correct but 40% of that was from declines in a pension fund. He claims conferences and events are 10% up and enrollment in its education programs is up 56%. But theres still a lot of missed opportunity to drive those figures higher. I wouldnt describe them as forward-thinking, and thats unfortunate, said an executive at a digital agency thats no longer a member of the association. Its an organization we would totally support if we felt like it was really listening and reflecting the digital space. Mr. Kimmel, who became the organizations new CEO in July, says he is listening-intently. In fact, Mr. Kimmel maintains that, up until not too long ago, he shared those same feelings about the DMA.

I came in here and wondered like others in the community about the progressiveness and enthusiasm of the DMA, he said. It hasnt been doing enough to remain on the cutting edge. As a start to rectifying this, at this years annual show beginning Oct. 9, Mr. Kimmel will be issuing a call-to-arms for the industry, asking for its help in redefining and championing a new understanding of direct marketing. His plea will unveil several new branding and educational initiatives intended to illustrate the DMAs progressive activities around social, digital and mobile marketing. Mr. Kimmel will also announce the launch of a new DMA website newdma.org with an American Idoltype contest called the SocialMedia Face-Off in which attendees will vote on the best social-media campaign presented by six industry thought leaders. Its all part of the DMAs concerted effort to meet the needs of digital shops going forward. Mr. Kimmel said digital, mobile and socially themed sessions will have a greater presence at this years annual show than ever before. But one thing that wont change-to the frustration of some-is the organizations name. We are starting with working as a community to change the understanding and definition of the discipline, Mr. Kimmel said. The name of an organization is secondary to the understanding of the discipline. The words direct marketing carry a lot of baggage, said an executive at one of the worlds biggest direct agencies. Its hard to bring a new generation of talent and vendors, because social and digital media is the passion of these young kids and companies, and they dont want the baggage that comes with direct marketing. In fact, the DMA has tried to break away from its image before by bringing in email marketing, social and DRTV, but it has never successfully broken away from that stereotype of just being about direct mail, said an executive at one of the worlds biggest direct agencies. But it seems to stand a shot with Mr. Kimmel, who is the only agency CEO to hold the chief executive role at DMA; he is the former chairman-CEO of Grey Direct Global Network and as such has a closer view of what agencies playing in the digital world require. For 93 years, we have been successful in supporting the direct-mail community, so that defines, in many peoples minds, the brand, Mr. Kimmel said. But thats not really the brand anymore. This organization was too slow to integrate, but we are getting better, and we are proud of where we are and where we will be going. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 When Facebook goes down, what are all of its friends supposed to do? BYLINE: IRINA SLUTSKY; ISLUTSKY@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 690 words

More than a million linked sites feel the pain when the social network hiccups More than a million websites around the web are looped into the worlds largest social network via Facebook Connect. Its social plug-in-the increasingly ubiquitous Like button-generates at least three billion clicks a day. And for many brands, a Facebook presence has outstripped their own proprietary CRM programs. With Facebook providing sharing tools, authentication, and even commerce for so many sites and brands, what happens when Facebook goes down, as it did on Sept. 22 for more than two hours? A Facebook outage cannot crash the web, but it could be a real pain. Think of Facebook as the phone line going into your house. If the phone line is down, the rest of your house is still operating-you can still take a shower, cook a meal, take a nap, mow your lawn. Everything but make a landline phone call. If youve incorporated Facebook into your web presence, there will be a big hole in your website, said Michael Lazerow, CEO of Buddy Media, a company that provides social-media marketing services to clients like the National Hockey League. That will happen to some of our clients, like NHL.com. Mr. Lazerow said that while these Facebook assets are down, the site around it could be slow to load and operate and advertisers cant get full credits for their ad served. And, no, you cant us the like button. Thats exactly what happened on CNN.coms front page for two and a half hours-users simply

couldnt log in through Facebook Connect to comment, like and share articles with friends. The Facebook connect box stared back at them empty, waiting to be filled in with information while Facebook fixed itself. Other non-Facebook social-graph indicators, like the CNN Newspulse, which lists the 10 mostviewed stories on the site, continued to function during the outage as did the rest of the CNN site, CNNs own registration function and other Turner properties. The ideal scenario is that our two systems are segregated enough that when Facebook goes down, there is no impact on the front end of our site, said Dermot Waters, senior director of product development at CNN. But a slow load or a blank box is not a companys only problem if its site doesnt just use the Facebook API for simple registration or personalization purposes, but rather builds its entire functionality on top of it. Consider a company like Zynga, creator of Farmville and Mafia Wars, with 360 million monthly active users. About 90% of Zynga activity takes place inside of Facebook. Every minute that Facebook is down probably costs Zynga $10,000, said Seth Goldstein, founder of StickyBits. But theres nothing you can do, its the way of the world. Theres no such thing as API insurance, though there probably should be. A Zynga representative declined to comment for this story. Most developers and technologists are quick to forgive Facebook for their glitches. When Facebook goes down, its a bummer, but if you were scaling to 500 million, youd have your issues too, said Mr. Goldstein. Other companies who have scaled quickly, like Twitter, have far more outages than Facebook and far less usable developer tools. Inigral.com cofounder Joseph Soafer went all-in and built his companys biggest product-Schools, which creates mini social networks for admitted college students-completely inside of Facebook. Outages are something that you have to be aware of, Mr. Soafer said, But the other option is to build something that would see much less usage and is less interesting and engaging. As a tech guy, Mr. Soafer said that Facebook.com goes down very rarely-in fact, Sept. 22s outage was the first in four years. But for a Facebook product like FB Connect to be used by a million websites-thats a drop in the bucket. Who knows what could happen as those tentacles reach further and deeper into more and more crevices on the net? Peter Relan, chairman of CrowdStar, had this to say: As Facebook and FB Connect become integrated into the fabric of the social web, Facebook outages will be more noticeable-sort of a double-edged sword for a web brand. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 5 FOOD NETWORK MAGAZINE BYLINE: THOMAS PARDEE SECTION: Pg. 16 Vol. 81 LENGTH: 371 words

After its foodie competition met its fate, gamble turned into unexpected success, and its still rising Last October, even as Gourmet became another victim of the ad downturn pummeling almost everyone in all media, the people behind Food Network Magazine actually had reason to celebrate: The risky venture they had begun the year before was reaching conspicuous fruition. A year after it launched a test issue in October 2008 it hit one million in circulation. And it has continued growing fast. Over the first half of this year, Food Network Magazine averaged paid circulation just a hair below 1.4 million, according to its report with the Audit Bureau of Circulations. It thrived on other fronts as well. Its issues from January through September of this year ran a combined 502 ad pages, up from 273 in the period the year before as the magazine added issues and advertisers, according to the Media Industry Newsletter. This spring it was nominated for a National Magazine Award in the general excellence category. And the web is actually feeding the print edition: more than 810,000 subscriptions have been sold online to date, according to the magazine. Publisher Vicki Wellington said the titles meteoric success left her and its owners-Hearst Magazines and the Food Network-somewhat shocked; they figured it would do well, but not quite so quickly. Its a great surprise, and its a great brand, Ms. Wellington said. We launched while a lot of budgets were spent, so we had to work hard, and we had to work smart.

Brand integration has been a chief component of the magazine, with content and cross promotion spanning the cable channel, the Food Network website and the magazine itself. It prominently features celebrity chefs such as Guy Fieri and Cat Cora, and is seeing increased ad buys in some areas outside its core focus such as auto and travel. The relationship with the Food Network has been a great asset, but oddly enough, it wasnt always clear whether the magazine should actually be called Food Network Magazine. Consumers, however, soon made that choice. Women in focus groups said, Call it what you want, but were calling it the Food Network Magazine, Ms. Wellington said. That was an a-ha moment. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 What is TechCruch sans Michael Arrington? AOL didnt want to find out; As tech blogs grow up, can they transcend their founders? Its possible, but for many the results remain to be seen BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 614 words

They started out as personal obsessions and evolved into agenda-setting news outlets proffering snap judgments on everything from Yahoos executive drama to Googles new URL shortener. Now, a question: Have a noisy group of tech blogs come of age?

With its $30 million acquisition of TechCrunch, AOL argues yes. So did Dow Jones, which locked up Walt Mossberg and Kara Swisher, the impresarios behind AllThingsD, to three-year deals last week. Both TechCrunch and AllThingsD are mildly profitable, but AOL and Dow Jones are doubling down on their investments, looking to infuse additional cash to build out news staffs and new events. Once, the rap on news blogs built around big personalities was that theyd never transcend them, and thus never build lasting value. For some, thats undoubtedly still true, and its telling that AOLs condition for even opening talks with TechCrunch was that founder Michael Arrington would stay on. At the same time, some of these entrepreneurial sites have grown bigger than their founders. Most media products come from the mind of a single person and go from there, said Om Malik, founder of GigaOm. Rolling Stone was created by Jann Wenner. I think the job of the founder of these media entities is to create a framework and a vision that other people can follow. Both Messrs. Malik and Arrington took extensive time off from their enterprises with no adverse effects, and while both still define the voices of the publications, theyve ceded day-to-day control of the editorial and the business. Similarly, Business Insiders Henry Blodget and Mashables Pete Cashmore are CEOs, but they have staffs that handle varying levels of the business day-to-day. Some have developed well-known editorial personalities beyond the founders themselves. Thats the strategy at AllThingsD, which in addition to Mr. Mossberg and Ms. Swisher has Peter Kafka, John Paczkowski and Katie Boehret. One of the things we are interested in is to make stars of people-that they are well-known for being accurate, engaging and fair, Ms. Swisher said. We think the D brand is much bigger than Walt and I. Few think TechCrunch will be the last deal, particularly while media old and new are desperate to build scale in low-cost content for display advertising. Doing that is a lot harder than it looks, said Tolman Geffs, co-president of Jordan Edmiston Group, who represented Forbes in the sale of Investopedia to ValueClick. Will TechCrunch ever hit $100 million? No. Will AOL help it grow? Yes. The deal gives AOL additional scale in the tech vertical, with little audience overlap with Engadget and Apple blog TAUW. While a blog like TechCrunch goes deeply into the weeds of startup and tech minutiae, AOL CEO Tim Armstrong sees it as reaching both a business and a consumer audience, You get both audiences and we felt its a two-for-one transaction. Yet the blogs themselves remain small businesses, and tough to scale beyond the devoted few without resorting to pageview tricks that dilute the brand. Most are looking for revenue sources beyond display ads such as pricey events and proprietary research. Its been pretty clear to me that the efficiency of the internet is going to make advertising as a sole business model almost impossible, Mr. Malik said. The question is whether the culture that made TechCrunch big-and arguably Mr. Arringtons outsize personality-can thrive as part of a corporate environment.

It didnt take long for Mr. Arrington to see the downside: a three-and-a-half hour orientation meeting with our new corporate overlords. God help us if news breaks, because well all be in the conference room acting out a Dilbert cartoon. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 THE WORK BYLINE: Teressa Iezzi SECTION: Pg. 23 Vol. 81 LENGTH: 509 words

IKEA HOMEMADE IS BEST AGENCY: FORSMAN & BODENFORS, GOTHENBURG The partnership between Ikea and Forsman & Bodenfors has yielded many innovative digital campaigns, but recently the pair has set the design world abuzz with something a bit more simple-Homemade Is Best, a baking book. Ikeas cooking tome deconstructs the ingredients of baked goods into still lifes shot by Carl Kleiner, along with 30 classic grandmother recipes. F&B Art Director Staffan Lamm says the original brief didnt start out with a book idea, but just asked the agency to create a campaign for Ikeas kitchen appliances.

Lamm says 50,000 copies of the book were made and are being distributed to customers who visit the kitchen areas of Ikea stores in Sweden. ART DIRECTOR: STAFFAN LAMM CLIENT: IKEA ART DIRECTOR: CHRISTOFFER PERSSON COPYWRITERS: FREDRIK JANSSON, ANDERS HEGERFORS ACCOUNT DIRECTOR: SUSANNA FAGRING ACCOUNT MANAGER: EWA EDLUND RETOUCH: FACTORY, HENRIK LAGERBERG PHOTOGRAPHER: CARL KLEINER STYLIST: EVELINA BRATELL FRENCH CONNECTION UK YOUTIQUE AGENCY: POKE, LONDON FCUK brings fashion tips and shopping into one experience. Clothing retailer FCUK tapped Poke, London, to create Youtique, a direct-sales channel on Youtube featuring stylist Louise Roe, who doles out fashion tips in annotated videos that allow consumers to buy the featured items through contextual links to frenchconnection.com, providing for a streamlined user experience. FIRSTBORN DOFLBALL AGENCY: FIRSTBORN MULTIMEDIA Quite possibly the first iPad game you can play with your pet. Firstborn recently came out with this iPad game, Doflball, which turns your Apple tablet into a touchbased air hockey game of sorts. While it promises a lot of fun with your drinking buddies, turn on the games pet mode and it makes for a great bonding tool for you and your pooch. The game is the brainchild-and namesake-of Firstborn senior developer Dofl Y.H. Yun, who used his cat as a test subject during development. The app is available free on iTunes. SENIOR DEVELOPER: DOFL YUN GOOGLE MOBILE PIZZA AGENCY: MUHTAYZIK/HOFFER, SAN FRANCISCO Take that, Little Caesars. What was it you wanted to find again? Google takes the Head On approach in promoting its Search with My Location feature, which instantly pulls up search results spoken into your phone. EXECUTIVE CREATIVE DIRECTOR/WRITER: JOHN MATEJCZYK CREATIVE DIRECTOR: DIKO DAGHLIAN ASSOCIATE CREATIVE DIRECTOR/WRITER: CHAS MCFEELY

EXECUTIVE PRODUCER: MICHELLE SPEAR ASSOCIATE CREATIVE DIRECTOR/ART DIRECTOR: STEVE ANDREWS PRODUCER: LINDSAY FA ACCOUNT DIRECTOR: BRITT PACKOUZ ASSOCIATE PRODUCER: KELLI BRATVOLD PRODUCTION: STUDIO G & TEAK DIGITAL EXECUTIVE PRODUCER: GREG MARTINEZ THE NEW YORKER IPAD APP DEMO The New Yorker app, demonstrated. Actor Jason Schwartzman shows how and where to use the New Yorker iPad app, for which the publisher will charge $4.99 per issue. PRODUCTION COMPANY: THE DIRECTORS BUREAU DIRECTOR: ROMAN COPPOLA STARRING: JASON SCHWARTZMAN EXECUTIVE PRODUCERS: SCOTT DADICH, MELISSA CULLIGAN PRODUCER: SUE AHN EDITORS: PETER BRANDT, MARCUS HERRING LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 In-store TV still battling it out for respect-and marketing dollars BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1026 words

Bob Wolinsky calls it the taint. He means the residue of doubt spawned by decades of in-store TV ventures that never delivered as planned, despite the seemingly unbeatable premise of putting TV ads in front of shoppers just as theyre deciding whether to buy. Mr. Wolinsky heads the latest foray into in-store TV, Automated Services, set to launch a test of its 3GTV network in nine Bloom stores around Washington, D.C., later this month. But, he acknowledges, the taint is so devastating that it makes it very difficult to engage someone in an open conversation about in-store TV. He believes hes solved problems that dogged prior in-store TV ventures. His solutions include a yetto-be-revealed content approach he likens to short attention-span theater, cheaper technology for wiring stores and systems that ensure ads actually get delivered to screens and monitor shopper flow through the store. But the taint has caught up to bigger and better-funded players than Mr. Wolinsky. While most in the industry blame poor execution, some are questioning the concept. The biggest and most recent bold plan came two years ago, when behemoth Walmart joined its longtime in-store TV partner PRN, analytics firm DS-IQ and media shop Starcom Mediavest Group to launch the Walmart Smart Network. The new network addressed prior shortcomings with Walmart TV by building screens directly into end-cap displays, customizing messages by store and section, measuring response and refining messages based on sales. Walmart expected to deploy the upgraded network in all its stores by early this year. That didnt happen, and its not yet clear when it will. A spokeswoman for Walmart said in a statement the network is in 1,200 stores (well under the 2,700 targeted two years ago) and continues to be installed in new stores. She added the retailer is encouraged by increasing advertiser interest. Walmart realizes in-store messages need to be shorter and focused on finding new products and is focusing on such innovations as weather-triggered campaigns, mobile integrations and Spanish-language ads, she said, adding: We are seeing welldesigned and thoughtful campaigns successfully drive and lift impressions. Late last year, the parent company of PRN, primary operator of the Walmart Smart Network and Walmarts older in-store TV network among those at several other retailers, filed for bankruptcy. Though PRN wasnt apparently the cause, Paris-based Technicolor has been trying unsuccessfully to sell the unit as part of its restructuring plan, including after emerging from bankruptcy earlier this year. But PRN CEO Richard Fisher said his business has posted a profit consistently for 10 years, including the first half of this year. He said only Walmart can say why the Smart Network has rolled out slower than planned, but noted that many new ventures have been slowed by the recession, which

intensified just as the Smart Network was launching. He blamed delays in selling PRN on Technicolors determination to get fair value. Mr. Fisher acknowledged in-store TVs image problem, but has a different take on the taint. The perception of failure has been fueled, he said, by startups-he counts about a dozen-who burned through venture capital and investor patience long before they reach the scale to be meaningful to national advertisers. Thats not PRNs problem, Mr. Fisher said. With 206 million monthly consumers reached, per Nielsen data, its bigger than the next nine in-store video players combined, he said. Another problem is the very term in-store TV, Mr. Fisher said. Though PRN has used it in the past, he prefers retail media, a reflection that its not about conventional TV commercials in store and can incorporate other types of digital communication. Peter Hoyt, exec director of the In-Store Marketing Institute trade group, pegs in-store TVs failure on two reasons. First, wiring any retailer for TV is expensive, he said, and the investment costs are likely to be too steep to be recouped by advertising sales. Second, he said, Nobodys really cracked the code on the content. Nobody ever went to a store to watch a commercial, so if youre looking to put a 15-or 30-second spot on your in-store TV, it will fail. PRN and others have run ads ranging from two to eight seconds for in-store TV, but theyre not without creative challenges. The obstacles that make 15-second ads difficult get bigger still when cutting the time down even more. At best, marketers can convey a quick offer with the time they have on TV in store, said a longtime shopper-marketing-agency executive, and such messages can be conveyed cheaper through circulars or shelf ads. Could it just be that TV in stores, good as it always sounded, is a bad idea? Mr. Hoyt finds it very telling that News Corp. Chairman-CEO Rupert Murdoch, who knows plenty about TV and owns the largest U.S. in-store media network-NewsAmerica Marketing-has never pushed in-store TV. He does, however, see in-store TV working under the right circumstances-look at Checkout TV (another PRN product) and Gas Station TV at pumps. Both rely on longer-form ads and temporarily captive audiences, though they work much more like in-home TV and arent positioned to drive many impulse sales, he said. Mr. Wolinsky is banking on better execution to make the difference. Beyond TV, in-store digital applications are growing in number and apparently impact. Carmen Bauza, Walmarts VP-divisional merchandise manager of beauty, spoke glowingly last week

at the HBA Global Expo in New York about EZFace, a digital kiosk now used in about 50 Walmart stores that photographs a womans face then shows simulations of it with various cosmetics shades. Stop & Shop has had success with Modiv handheld units that interface with loyalty-card data to generate offers and streamline checkout by letting customers scan their own purchases in the aisles. And a person familiar with the matter says Modiv is preparing to launch an iPhone app that can do the same thing. Meanwhile, Mr. Hoyt contends the bulk of shopper marketing tech development today is screens on shoppers own mobile devices, not in-store TV. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MillerCoors thinks globally, but gets intimate locally; Rather than push one flagship around world, brewer bets on favored regional brands, strategies BYLINE: E.J. SCHULTZ; ESCHULTZ@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 921 words

Maybe its all the Polish jokes. But for whatever reason, beer drinkers in Poland apparently need a pat on the back from the rest of the world, SABMiller says it has discovered. One of the first things in the Polish psyche about

Poland is no one takes us seriously, said Nick Fell, the brewers marketing director. Whats incredibly important is external validation of Polish reasons to be proud. That notion led SABMiller to launch a campaign for its Tyskie brand featuring foreigners lauding the Polish brew and Polish people. From Peru to Romania, the brewer is making similar adjustments to its advertising, believing the key to winning the global beer battle is by pushing local brands and appealing to a home countrys customs, attitudes and traditions. The approach-outlined by Mr. Fell in an interview with Ad Agestands in contrast to its chief competitor, Anheuser-Busch InBev, which is seeking to bring its Budweiser brand to new markets across the globe in hopes of growing it to the scale of Coca-Cola. The stakes are high: With fewer opportunities to expand by acquisition, international brewers must find ways to boost their brands, especially in developing countries. The key to growth is going to be growing organically, unless people start drinking more, which they probably arent, said Harry Schumacher, publisher of Beer Business Daily. That means taking share from each other, or from wine and spirits. To do so, SABMillerwhich has an 11.8% global market share compared with leader A-B InBevs 18.8%-is asking managers in its 75 countries to focus more on marketing and less on back-office tasks. The executives rely on sociologists, anthropologists and historians to find the right buttons to push when selling brands. Mr. Fell said the relatively small market share held by global mega-beer brands is proof that beer is inherently a local product and must be sold that way. He points to the top international brands, which hold only a sliver of total global market share. Heineken and Corona Extra have only about a 1.5% share each, according to Euromonitor International. If youre seeking to be the biggest player in beer, and the most profitable player in beer youre not going to win by focusing your effort behind a very small portfolio of mega global brands, Mr. Fell said. So SABMiller is pushing what Mr. Fell called local intimacy across its six-continent operation, including: Peru, where bottles of its Cusquena brand feature replica stones of an Incan wall that, he said, pay tribute to the elite standard of Inca craftsmanship that continues to this day in every bottle. Bottles of the Arequipena brand show fighting bulls, a tribute to the bull-on-bull sport fighting popular in a region of the country. Romania, where a TV ad shows an empty barrel of Timisoreana beer being rolled out of a bar then back in time through quaint villages, scenic landscapes and finally filled at the original 18thcentury brewer that created the beer. Ecuador, where the brewer plays off the nations tradition of holding many festivals by offering limited-edition packaging for Pilsener and giving away gifts and prizes to the community.

Poland, where the Tyskie campaign includes a group of Czechs raising their glasses to the Polish brew. To be sure, SABMiller still spends big on its international brands-Miller Genuine Draft was introduced in Colombia and Peru this year-but when doing so, the brewer looks to access a quick cultural reference that will help people understand what the brand stands for, Mr. Fell said. MGD in Colombia, for example, was positioned as an icon of cosmopolitan cool to appeal in urban areas. Sales of all MillerCoors brands have increased in Africa, Asia and Latin America, but dropped in recession-ridden Europe and North America, according to the companys 2010 annual report. If SABMillers global approach can be summed up by a barrel rolling through historic Romania, then A-B InBevs strategy might just be called Bud United, a tagline for its recent World Cup sponsorship. The brewer credits the promotion with keeping global volumes flat in the challenging first half of 2010, according to a company statement on its second-quarter results released Aug. 12. The World Cup [promotion] sold a ton of Bud, Mr. Schumacher said. The question is: Will people keep drinking it? Tests will come in Russia, where Bud was introduced in May, and Brazil, where it will hit stores soon. In its second-quarter report, the brewer described Bud as one of its Focus Brands-those that have the greatest commercial potential and will get the majority of our attention. At present, Bud only has a 0.7% global market share, when U.S. sales are excluded, according to Consumer Edge Research. Heineken is No. 1 at 1.3%, excluding home-country sales. Brett Cooper, a financial analyst who covers A-B InBev for Consumer Edge Research, said: Our view on Budweiser is it will be a slow rollout [globally], it will be priced above mainstream brands and, if successful, it will be a nice compliment to their existing business. Pre-merger Anheuser-Busch had only limited success selling Bud outside of the U.S. and Canada, he said. But A-B InBev has the advantage of rolling it out in markets where it already has a footprint, such as Brazil, where the companys brands command a 70% market share, he said. Still, Mr. Cooper said, Beer is a local business. Each market is going to be dominated by the local brands. Thats just the way that this industry has developed. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 1 PEOPLE STYLEWATCH BYLINE: NAT IVES; NIVES@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1006 words

SHOPPING TITLES SHARP EDITING BRINGS WEB SENSIBILITY TO PRINT No celebrity photo shoots required, just reader service and respect at fashion magazine that added 57% more ad pages through September Lots of fashion magazines cover high and low, but few are as relentlessly real about fashion as the sunny People StyleWatch, a magazine that makes cover stars out of boots, tops, bracelets and bags under $100. And none are adding readers and advertisers as rapidly. Look at its newsstand sales, where many advertisers gauge a titles vitality. It increased 15% in the first half of this year, compared with the first half of last year, according to its report with the Audit Bureau of Circulations. Single-copy sales across the magazines reporting to the bureau fell 5.6% by comparison. Subscriptions are flying as well, surging 36.1% in the first half. Total paid circulation climbed 17.7% to 882,683, giving its advertisers a big overdelivery on the guaranteed 725,000. The magazine, which has increased its circulation guarantee every year since 2006, is planning another bump for February 2011, when its rate base will go to 775,000. Oh yeah, and an 11th issue is joining the schedule in July. Advertisers are coming along almost as quickly as readers. As a young magazine that hadnt yet reached cruising altitude, People StyleWatch was able to keep climbing even in the brutal business climate of 2009. Magazines as a whole lost more than a quarter of their ad pages last year, but People StyleWatch added 24.4%, according to the Publishers Information Bureau. Theres either something special going on here or its still a young brand climbing toward arguably high potential.

There was always some fashion in there, but were becoming more and more core, said Karin Tracy, the publisher since February, when founding publisher Michelle Myers defected to Lucky, the original shopping title from Cond Nast. There was some education that had to be done there because we look different from a traditional fashion magazine. But thats what works. Under a deal with JCPenney that brought the magazine increased ad pages, People StyleWatchs Must-Haves editorial feature is appearing now in 1,100 JCPenney stores around the country. Starting next February, shoppers at the stores will get special subscription offers, too, to the magazine and its siblings at Time Inc. They are a very talented and creative team who give instant credibility to our style authority, said Myron Ullman, chairman-CEO of JCPenney. Much of the advertising growth this year has come from fashion and retail marketers, with new buys from brands including Marc Jacobs, Michael Kors, Levis, DKNY, Lord & Taylor, Piperlime and Express. Theyve all realized that times have changed, and in order to get this consumer you have to think differently, Ms. Tracy said. And I think a lot of it also came from them getting comfortable with the web. We are almost a print vehicle that takes the best practices from the web. That means the magazine has a singular function and a tight focus, much like a website that appeals because it gets something done. Susan Kaufman, the editor since its official 10-times-a-year launch in 2006, keeps her treatments of boots and bags fast and succinct. And she keeps a very close eye on reader reactions. At first the magazine was doing shoots with celebrities like Rachel McAdams and Jessica Alba. I came from Glamour and Mademoiselle, pretty traditional fashion magazines, Ms. Kaufman recalled. In fashion magazines you do shoots. Over time when we were getting back the reader reports, it was becoming very clear that those were the lowest-rated pages in the magazine, she said. After about four or five issues, I said to myself, Why are we doing this? They dont even like it. Why not use paparazzi photos of celebrities in real clothes, not the clothes we put them in? Theres no payback to the reader, so we dont need to be traditional, we dont need to be like other magazines. She once explored slightly longer packages-if you can call a page-and-a-half of trying out a stiletto a longer article, Ms. Kaufman said-but reversed course when readers started skimming. Even that was too much for the reader, she said. They really want that quick snap. It may attract consumers like a website, but People StyleWatch holds them like a magazine. Readers spend an average of 109 minutes with an issue, according to the titles internal research. And while they enjoy the celebrity photos, the magazines real benefit is that its actionable. As editors we are curating and editing a lot of fashion noise narrowing down to the things you need to know, the best things you need to buy at the best price points, Ms. Kaufman said. Were sort of doing the best of the web and the best of magazines, and thats probably another reason it has

resonated with readers. Its not obvious to readers, or probably much of the industry, how much editorial work goes into executing on the mission, looking for ways People StyleWatch can evolve, exercising discipline when an experiment proves to be a digression, and getting questions of taste and style right issue after issue. This is not a magazine thats getting nominations for National Magazine Awards. But all those elements are required and supplied in good measure by Ms. Kaufman and her staff. And there are tricks to getting a shopping magazine right-as former shopping magazines from Cargo to Vitals to Shop Etc. could attest from their graves. Respect is key. If were doing an Under $100 story, were not going to show a T-shirt for $99, Ms. Kaufman said. Thats insulting to readers. She added: I ask around the office, ask the assistants, because I want the reality, when a lot of fashion magazines are pretty insulated. For its obvious and still-growing pull on readers and advertisers, not to mention how easy Ms. Kaufman makes it all look on the page, People StyleWatch is the Advertising Age Magazine of the Year, and Ms. Kaufman is our Editor of the Year. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 Companies tread lightly with political donations; Corporations may not be tying cash to brands-but that doesnt mean theyre not giving BYLINE: E.J. SCHULTZ; eschultz@adage.com SECTION: Pg. 4 Vol. 81

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When Target Corp. spent $150,000 in support of a candidate who opposes gay marriage, the backlash from its employees and liberal groups was swift and loud, eventually forcing the retailer to apologize. The lesson for other companies on how to deal with newly loosened campaign-donation rules: Act carefully. Or act quietly. Only a handful of companies are on record donating directly from their corporate accounts to political causes as is allowed by the Supreme Courts landmark Citizens United ruling. General Mills CEO Ken Powell last week pledged that the Minneapolis-based food giant would not engage politically. We have not given to any of the so-called independent political-expenditure organizations, [and] we have no plans to do so, he said in response to a question at the companys annual shareholders meeting. The audience responded with approving applause. But scores of other companies could be in the political game. They are just playing anonymously, routing money though independent groups that dont have to immediately report donors, campaignwatchdog groups say. Were seeing evidence of it all around, said Craig Holman of consumer-advocacy group Public Citizen. Its all going through these third-[party] groups that arent telling us where their money is coming from. The Supreme Court ruling and related regulatory decisions freed corporations to spend unlimited amounts on independent expenditures-money that can be used to advocate for or against a candidate as long as the advertising is not coordinated with the politicians campaign. Theoretically, companies could act alone, slapping their companys name on a political ad. But thats not happening, analysts say. Most corporations tend to be risk-averse, and, obviously, they have customers who are Democrats and Republicans, said Evan Tracey, president of Kantar Medias Campaign Media Analysis Group. We just havent seen anybody put their own brand out there. But the federal system provides other avenues. For instance, companies can give to third-party groups without having to immediately reveal the donations. One vehicle is a super PAC, through which organizations can take unlimited donations from corporations or unions for advertising. More than 30 groups have been set up so far, supporting both liberal and conservative causes, according to the Center for Responsive Politics. The groups only have to reveal donors periodically. The next date is Oct. 15. Another way to give is to nonprofit groups, known as 501(c )(4)s, that face very few donor-

disclosure requirements. Examples include Crossroads GPS, a group affiliated with GOP strategist Karl Rove, which has run ads worth more than $2 million attacking Democrats in Kentucky, Pennsylvania and California. An affiliated super PAC, called American Crossroads, in August reported $400,000 from insurance company American Financial Group. The Target donation came to light because Minnesota, where the company is headquartered, has strict disclosure rules for state donations. A move to increase disclosure for federal races is stalled in Congress in the face of opposition from Republicans who say it violates free speech. Targets donation went to a pro-business group called MN Forward, which is backing GOP gubernatorial candidate Tom Emmer, who opposes gay marriage. Best Buy and 3M have also given to MN Forward, but Target is getting most of the attention. Target at first defended the donation by citing the groups pro-business agenda, but the move was seen as a betrayal by the gay community. Target has prided itself on its pro-[gay] stance in the past, said Akshay R. Rao, director of the Institute for Research in Marketing at the University of Minnesotas Carlson School of Management. Thats why the backlash against Target was so severe. Liberal groups organized boycotts and protests. Target CEO Gregg Steinhafel in August issued an apology to employees. Timothy Baer, Targets executive VP-general counsel, told reporters at Targets recent media day that the retailer is reviewing its decision-making process so we dont create the kind of situation like with Minnesota Forward, and we dont offend our team-member base. Mr. Tracey said organizations that oppose corporate donations were ready to pounce on Targets donation, the idea being, If we can make an example out of Target, then who knows how much money thats going to keep on the sidelines? At the same time, New York Citys Public Advocate, Bill de Blasio, is waging his own war against company donations. He says hes already secured pledges from Dell, Microsoft, Xerox, ColgatePalmolive, IBM and others who say they wont spend company money on elections. Those who have spent include Target, Best Buy, Massy Energy and International Coal, according to the office. Plenty of other firms do not have formal policies prohibiting spending company money on politics, including Verizon, McDonalds and Walmart, according to the office. CONTRIBUTING: NATALIE ZMUDA LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age October 4, 2010 Why the bad economy has been good for Target; Downturn pushes retailer into shifting agency structure, marketing, media and renewing its focus on innovation BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 1163 words

The recession has given retail a swift kick in the butt-but in the case of Target, its done so in a good way. Using the recession as a catalyst, Target has made fairly radical shifts to its agency structure, marketing and media approach and overall business operations. Within the last 18 months, the cheapchic retailer has named Wieden & Kennedy its first lead agency, shifted its marketing approach from shiny, happy people to something more closely resembling reality and opened its doors to the media. Its also rolled out the P-Fresh grocery concept, tweaked in-store merchandising, unveiled a smaller urban-store format and introduced the 5% Rewards loyalty program. There was more innovation happening within Target during this recession than in any time in my 25 years with the corporation, said Michael Francis, exec VP-chief marketing officer, during an interview with Ad Age in New York. The recession caused us to challenge every assumption. It was a catalyst for a lot of more overarching changes. One major change was the naming of a lead agency, a departure for Target, which had relied on a roster of primarily boutique agencies. Wieden had been on Targets roster for years, but it was granted the lead-agency distinction without a review just over a year ago. It was time to bring in a more thoughtful quarterback, Mr. Francis said of the move. Given a number

of new initiatives and the changing media and marketing landscape, Target felt it needed a partner to help align its messaging and approach across channels. Wieden does not directly manage Targets other agency relationships, which include shops with Minneapolis ties, like Haworth, Olson and Peterson Milla Hooks, as well as AKQA, Huge and Mother, among others. But it does work in tandem with the other agencies to execute campaigns. Often Wieden will craft the broad architecture of a campaign, even if another agency takes the lead on the project, Mr. Francis explained. With Wieden in place, Target went about fine-tuning its marketing message and evaluating the resonance of its tagline Expect More. Pay Less. It aimed to more closely reflect reality, as well as convince consumers that it was just as cheap as rival Walmart. We let too much space drift between Expect More and Pay Less. Its a period, not a paragraph, said Mr. Francis. Consumers didnt really see their lives reflected in the execution, the post-modern homes and shiny, happy people that populated a lot of the Target brand were out of step. It took a few tries to get the tone right. The short-lived Collections campaign featuring actor Alan Cox was not distinguishing. And some of the work from Wieden for last holiday season lacked joy and warmth. One spot seemed to cast doubt on the existence of Santa Claus, while another put a damper on Christmas morning with talk of the recession. I have no regrets, Mr. Francis says of those campaigns. It was a shift we needed to make. The construct now is crystal clear. Indeed, the retailers latest campaign, Lifes A Moving Target seems to have hit the right note. It entails upward of 70 15-second spots, each highlighting a specific product, ranging from flu shots to pants to cheese. Some spots are humorous, some are not, but they all revolve around the idea that the pace of life is complex, said Mr. Francis. The campaign, which does use co-op dollars, has proven popular with vendors and consumers alike. Mr. Francis says vendors are now approaching Target and asking to participate. And the length of the spots has allowed the retailer to be more creative in how it buys ad time. The fifteens for me are a wonderfully creative way to stitch together messaging to ensure the campaign stays fresh, Mr. Francis said. The likelihood of any consumer seeing all 70 spots is pretty low. And I dont have any of the seasonal constraints that I might otherwise have had. Heading into 2011, Mr. Francis is optimistic the retailer will be able to win, even as consumers continue to feel the pinch of a tough economy. Sales at stores open at least a year have been positive for eight of the last nine months, rising 1.8% in August. Walmarts same-store sales, by contrast, fell 1.8% in the second quarter and 1.4% in the first quarter. Walmart no longer reports sales on a monthly basis. We believe weve negated the price perception issues, he said. We have some of the highest growth weve had in our measured history. More importantly, weve drawn greater frequency of visits, and weve been able to grow our share of visits. The key for 2011, Mr. Francis says will be ensuring Target offers customers ample rewards for visiting. One way it plans to do that is with 5% Rewards. The program will offer consumers 5% off items bought with a Target Visa, Target credit card or Target debit card. It will launch nationwide in October, with a robust multimedia marketing effort, handled by agency Little & Co., Minneapolis.

Another way is through improved stores. By the end of next year, the retailer expects it will have spent more than $2 billion over a two-year period to renovate 740, or roughly 40% of its stores. The updated stores include an expanded fresh grocery assortment, dubbed PFresh, which features fresh fruit and vegetables, meat and dairy products. Throughout the store, new, shorter displays enable shoppers to more easily view products, while updated signage and trendy lighting give the space a more modern feel. The beauty, electronics and jewelry sections have also been overhauled, allowing customers to more easily browse merchandise. And there are smaller updates as well. The space between clothing racks has been widened, for example, to better accommodate shopping carts. Target executives showed off a renovated store during its first Media Day in Minneapolis. The event itself signaled a sea change for the historically press-shy retailer. We, as an organization, believe that a more transparent and authentic relationship with media is going to be important to how we manage the brand for the next decade, Mr. Francis said. To that end, Mr. Francis was candid in not only addressing marketing shifts but also the recent controversy surrounding Targets donation to MN Forward, a political action committee that is backing GOP gubernatorial candidate Tom Emmer, who opposes gay marriage (see related story, P. 4). Mr. Francis says protests and boycotts appear to have had a negligible impact, given sales for July and August were in line with expectations. But the retailer is still taking the situation seriously. We are reviewing our decision-making process for future contributions in the public policy arena, and engaging a variety of team members, leaders and our own GLBT Business Council members in that approach, Mr. Francis said. The bottom line is were using the benefit of time, our recent experience and team member insight to ensure our political activities fully reflect our values, interests and priorities. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

October 4, 2010 MAGAZINE A-LIST; 2 THE ATLANTIC BYLINE: SIMON DUMENCO; SDUMENCO@ADAGE.COM SECTION: Pg. 12 Vol. 81 LENGTH: 827 words

THE GRAND OLD GLOSSY AS DIGITAL POWERHOUSE A publishing team takes one of the worlds most storied print brands and builds an ultramodern, multiplatform juggernaut, extending its influence while discovering the joys of (gasp) profit. When rich guys buy prestigious but historically cash-hemorrhaging magazines, the presumption is always that its about the personal brand-i.e., the rich guys ego-as opposed to the publishing brand. Ownership of a trophy property, being the savior of a thinky title, is supposed to be reward enough. Absorbing continuing losses is seen as cultural duty, a form of philanthropy. Turns out David Bradley had other ideas. When the chairman and owner of the Atlantic Media Company installed Justin Smith as president of Atlantic Consumer Media in 2007, he set in motion a radical transformation of The Atlantics business operations, having already shaken up the edit side by moving the magazines editorial headquarters from Boston, where it had resided since its birth in 1857, to D.C. in 2005, and hiring New York Timesman James Bennet as editor in chief in 2006. (Mr. Bradley purchased what was then known as The Atlantic Monthly from real estate magnate Mort Zuckerman in 1999.) Mr. Smith came from the U.S. edition of Felix Dennis news digest, The Week, where he was founding president and publisher; hed previously been at The Economist and the International Herald Tribune. In the spring of 2008, he hired Wired publisher Jay Lauf to become VP and publisher. Wait, what? The Atlantic, the dusty literary institution once home to Mark Twains prose, raiding not only a future-forward title, but one published by gilded glossy conglomerate Cond Nast? I do remember being a little bit embarrassed inviting Jay over to look at our tiny little one-room offices with a dangling wire and a light bulb-a temporary space on 42nd Street for a new Manhattan sales operation-but then I realized that hes someone who had not only operated at a very glamorous level in this business, but someone who has really been trained in the trenches as well, Mr. Smith said. Before Wired, Mr. Lauf had been ad director on the U.S. launch of gadget title T3 and had previously been with tech-trade publisher Customer Interaction Solutions. Given that Mr. Smiths vision was to convert The Atlantic into much more of a digitally focused multiplatform brand, Mr. Laufs background made perfect sense; it helped that Mr. Lauf was a huge fan of The Atlantic and was able

to name-check his favorite Atlantic writers and stories when he first ran into Mr. Smith, by chance, at a publishing event. Hiring Jay was like finding the needle in the haystack, said Mr. Smith, He is a strategic driver of revenue who cares deeply about the world of thinking and ideas. With the help of a slate of provocative, prolific bloggers including Andrew Sullivan and Ta-Nehisi Coates, a revamped TheAtlantic.com has seen its audience surge. Brand extension TheAtlanticWire.com, an opinion aggregator, is just a year old but is already gaining a major audience of its own. Digital revenue, which contributed 16% of overall ad revenue in 2008, grew to 32% last year and is on track to reach 36% by the end of this year. Meanwhile, print-ad revenue is projected to be up 26% in 2010. The Atlantic is also overdelivering on its paid circulation guarantee of 450,000 copies, up from 400,000 in 2008. This year, The Atlantic has 65 high-powered events on its calendar, including the Aspen Ideas Forum, Future of the City and Cyber Security. Elizabeth Baker Keffer, the president of Atlantic Live, has done a masterful job of building out that business in a way that makes us a very differentiated media brand, said Mr. Lauf. That differentiation is evident in the caliber of speakers and panelists Atlantic Live draws, from CEOs like Googles Eric Schmidt to various members of the Obama cabinet. The eagerness of D.C.s power elite to commune at Atlantic events makes perfect sense given that the magazine and TheAtlantic.com are considered must-reads among the halls of power (e.g., The Washington Post revealed that President Obama is an avid reader of Mr. Sullivan). No surprise, then, that the Doublebase 2010 MRI report ranks The Atlantic No. 1 against all 214 measured magazines for Influentials, the 10% of the population that influences what the other 90% think, do, and buy. Mr. Smith, who this year was promoted to president of Atlantic Media Co., giving him oversight of The Atlantics sibling titles including National Journal, noted that all the momentum is making a mark on the bottom line. Were going to make a profit at The Atlantic for the first time in many decades, he said. And weve added almost 20 new head count this year. In 2010, that amounts to something of a minor miracle, which is why The Atlantic takes the No. 2 spot on this years Advertising Age Magazine A-List, and why Justin Smith and Jay Lauf are our Publishing Executives of the Year. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 Why Time Warner Cable stuck with its name; After 18-month search, company goes for new logo, design and branding push rather than risk losing brand equity BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 920 words

When time Warner cable spun off from corporate parent Time Warner in March 2009, one obvious question hung over the No. 2 cable companys head: Why keep the name Time Warner Cable when it was no longer a Time Warner company? So last January, Time Warner Cables chief marketing officer, Sam Howe, and his agency partners at WPPs Ogilvy embarked on a name search, internally dubbed Project Mercury, to see what names, if any, could better define the newly independent company. The search was voluntary (the company had no contractual obligation to find a new name), exhaustive (dozens of names were explored, two were seriously considered) and ultimately, after 18 months as a standalone company, Time Warner Cables new name is Time Warner Cable. When we first looked at the direction we wanted to take as our own company two years ago, we asked ourselves, What are we to people? We didnt want to just be a cable company, Mr. Howe said, noting that the company considered removing the Cable from its name as well. But we think well create distance from the parent in time. Those words together still carry a lot of equity. Instead, Time Warner Cable will debut a revamped logo, design and branding campaign in an effort to establish a unique identity both as a brand and as a cable company. That includes ditching the RoadRunner logo it famously licensed from former corporate sibling Warner Bros. to advertise its internet service (although it will keep the brand name) as well as the capitalized, Time magazineinspired font in its corporate logo. Time Warner Cable will now use a proprietary font, TWC Round, that draws less attention to the Cable part of its name so that its other products-phone, internet, ondemand-can get equal play. The companys logo, an eye/ear hybrid inspired by the work of Swiss

artist Steff Geissbuhler, will also be featured more prominently. A series of TV spots debuting this week, created with Ogilvy Group Creative Director Tommy Henvey, should also look a little different. Gone are the competitive ads featuring actor Mike OMalley calling out Verizon Fios for its deceptive billing practices. In their place are ads featuring families with active lifestyles made easier by Time Warner products: a father pitching baseballs to his son while programming a game from his Remote DVR Manager; a couple who can watch an ondemand movie at the same time on any TV in their house; a married couple who can listen to voicemails from their son via e-mail. Time Warner Cables quest to find a less-corporate image is hardly without precedent. In 2006, Cablevision rebranded its cable service as Optimum to give it a distinct identity, while Comcast just renamed its service as Xfinity. But without a formal name change, Time Warner Cables branding challenge lies within its design and marketing. Its undeniable that cable companies suffer from public-perception issues, so a fresh coat of paint sometimes is in order, said Ian Olgierson, a multichannel TV analyst at SNL Kagan. It doesnt take a tremendous amount of savvy to differentiate between Time Warner Inc. and Time Warner Cable, and with consumers theyre sort of different products. Theyre not changing the formula of Coke; theyre changing the can of Coke. The campaigns flexible tagline is Moving technology forward to bring you back and is Time Warner Cables way of positioning itself as a lifestyle brand that happens to have innovative technology, especially when compared to the tech-heavy ads favored by its competitors. Kim Bates, Time Warner Cables VP-marketing communications strategy, cited Target, Google and Apple as some of the aspirational brands shed like to see the company associated with one day. Targets logo is this icon thats taken on another life. We want to make our eye/ear a part of the culture, she said. Googles logo changes all the time. We need a brand that can change and feel fresh. That flexibility will also soon apply to Time Warner Cables products themselves. Mr. Howe said the company will debut a different pricing architecture early next year that will give customers more options in creating their subscriptions, while customer service will also get an upgrade. The companys DVR products will be expanding in a big way next spring with the debut of products like Look Back, which will allow customers to watch programs they missed for up to three weeks past their initial airdates. Focusing on branding while rivals wage war against each others products can be risky. Secondquarter pay-TV subscriptions were challenged across the board, down 216,000 customers across cable, satellite and telco households, due largely to the recession. Time Warner Cable in particular lost 111,000 basic video subscribers during the time period, though it saw growth in digital video subscriptions (50,000 adds) and bundled customers (68,000). Its because of those trends that Mr. Howe thinks the company can move beyond making devices and networks key parts of its marketing messaging. Everyone has a theory that the subscriber trends are due to cord-cutting, but theres no greater number of cord-cutters year-over-year. Maybe the intent to cord-cut is up, but were not seeing it, he

said. We think this brand gets you back into that space of not wanting to cut the cord, or at least assist you into time-shifting if you didnt think you could before. Were a platform company, not a bundle company, and the number of customer relationships has stayed quite strong. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 9 VICE BYLINE: SIMON DUMENCO SECTION: Pg. 17 Vol. 81 LENGTH: 365 words

A cult glossy spawns a global media empire, and gets props from-and a partnership with-CNN Itd be easy to dismiss Vice as a cultish niche title-a street-smart youth-culture magazine with a famously ribald editorial sensibility. But a growing number of major players-including CNN, which this spring partnered with Vices online broadcast offshoot, VBS.tv-are recognizing that the ultimate glossy outsider has quietly spawned a global media empire while becoming an unlikely journalistic powerhouse. Headquartered in New York since 1999 (it was born in Canada as Voice of Montreal in 1994, then rebranded in 1996), Vice is published in 24 editions distributed in 27 countries, with worldwide circulation of 1.1 million. It is the first primarily free magazine ever to make Ad Ages A-List (paid

subs aside, Vice is mostly distributed at boutiques, bookstores and other hot spots in urban areas). That CNN deal, which puts VBS content on CNN.com, is recognition of Vices unwavering devotion to global reporting. In print, hands-on cofounders Suroosh Alvi and Shane Smith, together with editor in chief Jesse Pearson, somehow manage to comfortably interweave hard-hitting reports from Afghanistan and Uganda with outr fashion spreads and sassy pop-cultural coverage. Think Rolling Stone in its heyday crossed with Tibor Kalman-era Colors crossed with a cracked-out National Geographic. On VBS.tv, led by creative director Spike Jonze (of Being John Malkovich and Where the Wild Things Are fame), you can click from a report on the gun markets of Pakistan to a show called Skate Europe. The site got 2.2. million U.S. visitors in August, according to ComScore. Once (and still) known for its ads from edgy street-fashion labels, Vice increasingly also pulls in major marketers like Nike, Diesel, HBO and Levis. And this year, Vice launched The Creators Project (thecreatorsproject.com), a co-branded effort with Intel. Its a new global initiative to identify leading artists who are pushing creative boundaries through technology, explains Smith. The empire of cool has also spawned record label Vice Music, Vice Films, Vice Books and Virtue Worldwide, a 50-person communications agency. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 MAGAZINE A-LIST; 10 WIRED BYLINE: NAT IVES SECTION: Pg. 17 Vol. 81

LENGTH: 389 words

Bold cover stories, slick redesign and a coveted iPad app keep readers-and advertisers-wanting more Some of you are reading Wireds accolades here on Ad Ages iPhone app, while more of you are reading it in print and an even larger crowd of you are reading this on the web. Its just another suggestion that the web isnt dead, contrary to Wireds September cover story proclaiming, well, The Web Is Dead. But thats OK. If Editor in Chief Chris Anderson dared to use a little hyperbole in a magazine cover line, hes not exactly the first magazine editor to do it. He also, as Gawker pointed out in one of countless takes on the piece across the, um, internet, gave the creators of the Web 2.0 conferences the opportunity to basically tell the editor hes nuts. And after earlier years introduction of The Long Tail and a robust argument over free content, hed gotten seemingly everyone talking once again-about something important and intelligent no less. That sort of resilience is starting to look like a Wired trademark. In September 2009, ad pages for the years issues to date had plummeted 43.9%, according to the Media Industry Newsletter. It wasnt the worst showing at Cond Nast, but this year VP-Publisher Howard Mittman delivered a Januarythrough-September rebound of 24.5%-the companys best. Ad pages in the September issue itself topped last years September by 33.1%. Readers, meanwhile, kept eating it up. Single-copy sales leapt 14.5% in the first half while paid subscriptions grew 7.4%, according to Wireds report to the Audit Bureau of Circulations. Wireds audience is obviously tailor-made for Twitter, but if strong newsstand sales tell advertisers something good about a titles vibrancy, Wireds 612,376 Twitter followers ought to say something encouraging about its brand as well. Wired also took home a National Magazine Award for the best single topic issue-J.J. Abrams Mystery issue in May-and for best design, its third such win in three years. And finally, iPad users downloaded Wireds long-anticipated iPad app edition 24,000 times in its first 24 hours and a total of 105,000 times so far, according to the magazine. Wired creative director Scott Dadich was subsequently named to the additional post, a newly created one, of executive director of digital magazine development across Cond Nast. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 Correction Appended ADVERTISING WEEK: NOW NEW AND IMPROVED; Yes, there were glitches -some overcrowding and poor signals-but the annual confab offered some big names and big ideas to smize about SECTION: Pg. 2 Vol. 81 LENGTH: 832 words

A few years ago we argued that Advertising Week, which brings thousands of ad types to New York each fall for networking, panels and partying, needed to be a lot less country club and be a lot more Facebook. And it has become that. The event has improved a bit each year and 2010 was no different. There were complaints: the rainy, dreary weather (organizer Matt Sheckner hasnt quite figured that out yet); poor cellphone service in some of the auditoriums; the flash-only Advertising Week website, which was useless on the iPad. But it continued its commitment to try to help the future of the industry, with five lucky students winning the Big Ad Gig, and enliven the content, by sprinkling in more outsiders and celebrities. Among them, king of the Virgin empire, Richard Branson; HuffPo Founder Ariana Huffington; an Fbomb dropping former Illinois Gov. Rod Blagojevich; Twitter Chief Operating Officer Dick Costolo, who was interviewed at the IABs Mixx event by Ad Age Editor Abbey Klaassen; and model-turnedtalk-show-queen Tyra Banks, who taught IAB Chief Randy Rothenberg how to smize. (That would be smile with your eyes.) While that last one cant exactly be put into words, other things can. Heres a smattering of the conversation, collected in the Ad Age notebooks. ON PROCUREMENT: The problem is, they think in the short-to midterm, said Rob Norman, North American CEO of WPPs Group M. We have clients that want to know what the evolution of use of the iPad will be 10 years down the road, and they have to invest in that type of research, but

procurement doesnt always see the value in that. Tim Armstrong, CEO of AOL: Procurement is a huge issue the clients seem to be bringing on, but I would also say that agencies are selling themselves as a price-based mechanism and thats [a mistake]. ON JOB TITLES: In a session titled 21st Century Creatives, Michael Lebowitz, CEO and founder of Big Spaceship, objected to the term, saying: No one should have Creative in their title-it absolves others from being creative. He later added: I expect everyone who works for me to be creative. ON DIVERSITY: As Roy Eaton-former music director for Benton & Bowles-accepted an honor as a pioneer in diversity at the American Advertising Federations Mosaic awards, held at the New York Athletic Club, he noted the irony of where he was. Mr. Eaton was the first black man at a major agency to work on a general-market account and, in 1955 when he was hired as a copywriter and jingle composer for Young & Rubicam, he would not have been allowed to enter the club. In his view, the ad industry has made some progress, but should take a page from Alcoholic Anonymous 12-step program. God, Give us the grace to accept the things we cannot change, he said. Courage to change the things we can-and yes, racism is one of them-and the wisdom to tell the difference. ON AMCS MAD MEN: Four seasons in, the show is no longer just water-cooler, its being viewed as a recruiting tool. On a panel of agency CEOs, Bob Jeffrey, global CEO of WPPs JWT, said Mad Men reminded people of the fun, sexiness and glamour of the business-and suggested everyone should be trying to get some of that back. ON THE CLIENT-AGENCY RELATIONSHIP: Whats usually at the root of the client-agency problems? Sometimes the client, said Joanne Davis, president of Joanne Davis Consulting. Its easy for a client to point to the agency and say they are doing bad work and they want to put the business in to review. She noted that both sides should be better at listening to each other, before it gets to that point. ON COMPENSATION: Ill overpay for the brain-trust component of the relationship, but not the commoditization part of it, said Claire Huang, top marketer at Bank of America Merrill Lynch. She wants top people and efficiency at same time. When we get the B-team from an agency, thats when the partnership breaks down. We need a partner that understands all of the pieces of our business and it should be cost efficient. ON THE VALUE OF TWITTER: Tyra Banks take on Twitter turns it into a highway from her fans straight to her heart: When you get to my level, you have to get through a lot of barriers to get to me, and Twitter lets my fans get right to me, and me right to them. Its great. I can reply to their questions and even ask them for advice. ON THE CHANGING ROLE OF THE CMO: So many of the CMOs that we are dealing with are struggling with their roles inside their organizations, said Publicis Chairman and CEO Susan Giannino, adding that they seem to have lost some of the teeth they previously had.

McCann Worldgroup CEO Nick Brien responded: I dont buy that. And I commiserate with those who might have lost their power within organizations. We are tasked with revenue growth, and if we cant do that, we should be fired. Net-net, its up to us to work with the management team of the organization and if CMOs allow the dilution, they should be replaced. LOAD-DATE: October 6, 2010 LANGUAGE: ENGLISH CORRECTION-DATE: October 18, 2010

CORRECTION: RE: Advertising Week: Now New and Improved (Oct. 4). The story incorrectly attributed E-Trade CMO Nicholas Uttons quote to Nick Brien. PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age October 4, 2010 WHY IN AN EXPLODING MEDIA WORLD THE ADVERTISING COMMUNITY STILL NEEDS CNN; In a sea of news boat rockers, network provides safe harbor BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 1067 words

Does anyone really need CNN? In these times of personalized Google alerts, political radio and news-with-attitude, the straight-

shooting CNNs of this world seem to have less relevance in a media landscape choked with Drudges, Huffington Posts and countless online aggregators. CNN touts its authority, but viewers are a lot more fickle than in its early years; the networks big hits now typically come at moments of national crisis or freak news events-remember Balloon Boy? But while the network that Ted Turner built might not have the viewership clout it once did, there is still one audience that very much needs CNN: the advertising community. With shrinking viewership of local news programs (whos home from work at 6 p.m. anymore?) and provocateurs like Glenn Beck and Don Imus stirring up controversy, CNN is safe ground. Its a trusted, if plain-vanilla, news source. Clients still see the value in CNN, said Elizabeth Herbst-Brady, president-Interpublic Groups Magna Global. Added Chris Geraci, managing director-national broadcast, at Omnicom Groups OMD: Its nice to have a strong showing in prime time, but its not necessarily why youre buying the news genre, said. Maybe thats why CNN isnt portraying its new prime-time lineup changes as a radical departure from its usual modus operandi-although, lets be honest, the prospect of seeing disgraced former New York Gov. Eliot Spitzer as a prime-time news host is, well, more than titillating. A new program that pairs him with co-host Kathleen Parker launches Oct. 4 at 8 p.m. The colorful British personality Piers Morgan takes over for the venerable Larry King at 9 p.m. in January. And anchor Rick Sanchez has injected more personality into his daytime slot than is expected from CNN personnel. The executive who leads CNN insists its U.S. network will resist the temptation to adopt the technique that has led rivals to greater ratings. Anchoring programs to a single lens or view would be catastrophic for CNNs operations, said Jim Walton, president-CNN Worldwide. And yet, that very strategy has helped both News Corp.s Fox News Channel and, to a lesser extent, NBC Universals MSNBC, gain more viewer attention-and the ad revenue that comes with it. Fox News captured about $511.4 million in ad dollars in 2009, according to Kantar Media, handily trumping CNNs $420.2 million (MSNBC notched just $131.7 million, according to Kantar). A CNN spokeswoman said the majority of CNN U.S. is sold in tandem with other venues such as HLN, which Kantar said took in around $144.2 million in 2009. Fox and MSNBC have more viewers in prime time than CNN, according to Nielsen, with Fox News beating the network in overall daily prime-time viewers more than three-to-one through Sept. 19, 2010. CNN has also trailed the other two in prime time with viewers ages 25 to 54, typically the demo upon which advertisers judge the channels. Indeed, CNNs 25-to-54 audience at 8 p.m. has been averaging just 20% to 25% of Fox News in the same hour, and usually trails that of MSNBC, according to analysis from Wedbush Securities James G. Dix. A CNN spokeswoman said the U.S. network draws more viewers tuning in over the course of a month than other cable news networks. And CNN might be losing what has been its advantage-as the first place to turn to for breaking news, the nonpartisan Project for Excellence in Journalisms The State of the News Media 2010 suggested. During the weeks of the shootings at Fort Hood and the earthquake in Haiti, CNNs

coverage was not enough to keep Fox News out of first place. Things are only going to get tougher. In the not-too-distant future, analysts envision a news aficionado who goes first to digital and mobile venues to keep up on breaking news-not cable. Given all this, shouldnt CNN just abandon the old way of thinking and ride the new programming wave to what would presumably be success? Radical change may not propel CNN to greater glory. CNN should contribute 12% of Time Warners consolidated operating income in 2010, according to Wedbushs Mr. Dix-a flow of money no one wants to see dry up. In addition to ad time on its U.S. network, CNN offers what ad buyers said is a broad reach across many different venues: overseas, out-of-home, online and more. CNN also captures subscriber fees from cable, satellite and telecommunications companies that distribute the network to viewers. And local news outlets pay CNN for use of the networks content on their air as well. All of which makes tinkering with such an established flow of revenue tough. Its hard to reinvent something thats that important to your profit stream, said Mr. Dix. Which brings us back to advertisers, who like the audiences news channels attract but are wary of an inflammatory host. Many cable-news outlets run ads in an arrangement known as run of schedule in which a marketer agrees to have ads run during a specific range of hours but often doesnt know which program or what host the commercials will be supporting. CNN provides a neutral environment for advertisers, said Scott Pool, VP-associate director of national broadcast at Omnicom Groups GSD&M Idea City. Certain people are leery of certain personalities on other cable networks. Fox News said it has been able to move advertisers concerned about Mr. Beck to other spots on the network, so there has been no lost revenue. An MSNBC spokeswoman said the network has not had a problem with advertisers pulling out of Countdown, the program hosted by Keith Olbermann. In a signal CNN is trying to push forward, it recently replaced Jon Klein, who led its U.S. network operations since 2004, with Ken Jautz, a CNN vet who in recent years has increased ratings at sibling cable outlet HLN using the likes of Nancy Grace and the now-departed Mr. Beck. He may not be able to repeat those feats. While high-octane personalities and opinions work in prime time, finding the right balance of attracting viewers in prime time to that sort of programming while not hurting the core value proposition is the challenge, said Andrew Heyward, a media-industry consultant and a former president of CBS News. For now, Mr. Walton is betting on the straight stuff. We expect Ken to grow his audience each month, each quarter and each year. One of the ways he will do that is by presenting and producing very relevant, compelling television programs. LOAD-DATE: October 8, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 27, 2010 Will these 5 things make for less awesome internet?; From content aggregation to social media, the things that make the open web great are also making it a pain BYLINE: MATTHEW CREAMER SECTION: Pg. 58 Vol. 81 LENGTH: 1652 words

For the past, say, six years, since the creations of YouTube, Facebook, Flickr and the major blogging platforms, weve enjoyed an internet experience that is, relatively speaking, fast, cheap and endlessly entertaining. The rise of consumer-created content mixed with a surplus of professional stuff suiting just about any need mixed with all manner of innovation in e-commerce has led to a sort of Pax Webana, an age of digital awesomeness, even if were sometimes too close to see it. But those Web 2.0 values of openness, ease of use and sociability that went well beyond the social platforms themselves are now being rethought as online content providers and platform creators feel out new ways to make their properties pay. At the same time, it seems clear that what makes the open web beautiful is working to undermine it. As ever, the internet is changing both for the better and for the worse. Heres a look at five things that could end the awesomeness.

1. THE DEATH OF NET NEUTRALITY


The past six months has been a disheartening period for anyone tracking the debate over net neutrality, the idea that internet service providers should treat all content providers equally and not, for example, provide faster transmission speeds for companies who pay for it or block others that have undesirable content. In April, Comcast won a ruling allowing it to slow its customers access to a file-sharing service called BitTorrent. It was a major setback to net-neutrality proponents, even if Comcast and its competitors havent announced plans to apply it on a broader basis. Then this summer, Google, a longtime fan of net neutrality, and Verizon together floated a proposal that wireless internet not be subject to the principle of net neutrality, along with something called additional, differentiated online services-whatever that means. The FCC, meanwhile, has tabled the issue of net-neutrality laws until after the midterm elections. Sure, big telecoms like AT&T and Comcast have been vocal about supporting an open internet, but, with these events and the potential revenue that could come from the death of neutrality, its not impossible to imagine the emergence of a tiered internet with clear sets of haves and have-nots and, consequently, a great deal of confusion and inconvenience for consumers, content-makers and marketers alike.

2. THE RISE OF THE CONTENT AGRIBUSINESS


By now, the basic workings of Associated Content, Demand Media and a growing list of knock-off companies need little introduction. These content farms are composed of a huge amount of low-cost articles or videos created with the express purpose of turning up at the top of search results. The overall impact of these businesses is to muck up search-result pages with low-quality how-to content. Last week, I entered How to tell if youre depressed? into the Google search box. Depression, obviously, is a serious matter, and a properly functioning internet would, in response to that query, come back with some resources that would push the searcher to a medical-health professionals. You know, someone who knows whats hes talking about. Instead, the first page of results was dominated by About.com pages, which basically pointed to online tests and included directions such as read the directions, and Suite101. These sorts of articles usually dont qualify as knowledge, and they barely rise to the definition of information. Its hard to imagine the person who, if they knew what they were about to get before clicking, would actually choose these articles as effective answers to their questions. Whats really scary is that theres sure to be more of these farms. Yahoo plopped down $100 million for Associated Content, while Demand is approaching an IPO expected to be in the $1.5 billion range. When it comes to content, quality is becoming a secondary consideration to cost-efficient, advertiserfriendly audience aggregation, and thats making the web a worse place.

3. WISHING THE WEB DEAD


Last month, Wired Editor Chris Anderson published a very bullish piece on our app-y future titled The Web is Dead. Long Live the Internet. His kicker: As it moved from your desktop to your pocket, the nature of the Net changed. The delirious chaos of the open Web was an adolescent phase subsidized by industrial giants groping their way in a new world. Now theyre doing what industrialists do best-finding choke points. And by the looks of it, were loving it. Mr. Anderson expresses a very publisher-centric vision of the future in which we will see premium mobile apps in part replace the open web where consumers dont pay for anything. His headline aside, this probably amounts to something more like a death wish than actually zipping up the body bag. The web, after all, is still growing, to which the incredible growth of something like Facebook attests. Nevertheless, you can see this sort of statement providing plenty of inspiration for awkward attempts to herd consumers into shelling out a bit for tools that that will deliver much the same content in the form of a slightly altered experience. That, to me, is a lot of what iPad apps are, at least in their early days. Of the few dozen apps Ive been playing with, few are essential, none have really been worth paying much for, and most pale next to versions that open in a browser and can thus be integrated into the social web through tweets, Facebook shares and so forth. Dont get me wrong: Were all for publishers making money, and the iPad and other mobile devices may provide a real solution. But overheating at the slightest glimmer of hope will only lead to awkward lunges forward. Remember, post-adolescence can be kinda ugly, too.

4. ATTACK OF THE TROLLS


Trolls, those anonymous dudes who post nasty stuff in online communities, have always been with us and always will be. But whats alarming now is the fact they have something like a professional organization in the form of 4chans b board. Theres a lot to be said for the overall proposition that people should have places online where they can have anonymous, ephemeral communications that dont live on in perpetuity. Its a response to the endless data trail that is Facebook, a privacyinvading nightmare to some. At the same time, there have been some nasty results-including suicidesstemming from trollings excesses, namely its intense, random meanness. While these make for good Dateline-type sensational stories, trolling is only the most extreme instance of another symptom of the internets ailments: the difficulty of building conversations that dont descend into some sort of madness, whether ideological or otherwise. An interactive medium at its core, the internet should facilitate conversation. But, as anyone whose ever tried to manage or facilitate or steer that discussion knows, it often doesnt work out that way and even the most robust commenting environments, like Gawkers, are prone to descend into schtick. I think its noteworthy that Andrew Sullivan, one of the most famous and successful bloggers around, still doesnt allow comments on his Daily Dish blog for The Atlantic. And its not hard to see other sites going that way, given the difficulty in managing commenters and the little payoff that often comes from big commenter communities. At some point, it might just not be worth the bandwidth it takes to support them, which is kinda sad.

5. INTERRUPTIVE MARKETING IS HERE TO STAY


I wrote a piece back in 2008 arguing that the most effective way of marketing online isnt to bludgeon your consumers with these ad forms that are really just digital updates of TV spots and print spreads. The web, I argued, is about conversation, talking directly to consumers with content thats useful or entertaining enough that it pulls people in. Theres some evidence that that message has been received. Witness the rise of brand-owned Facebook pages and Twitter accounts, not to mention the growth of social-media roles both at agencies and in-house in marketing departments. Serious investments are being made, and some good stuff is getting done. But that innovation hasnt come at the expense of pop-ups and banners. Sure, those old-school forms look better than they used to, but they dont make for a consumer experience thats in any way different at its essence from the plight of a consumer who was bumping into a popup in 1999. Today, as ever, they still plaster a brand and some messaging in-between a consumer and what he or she really wants to see. Looked at in one way, theres nothing wrong with this. Publishers need money, brands need eyeballs looking at messages they control, and advertising agencies need scalable executions. Ads are quick and (relatively) easy to come up with, design and place-and theyre often an important tool in driving traffic to more sophisticated, useful, and forward-looking marketing efforts. And, lets face it, not all brands can easily play the content game. Whats worrying is that paid media still acts as a crutch for marketers and, as they walk lightly into a world where they can own content, theyre leaning too hard on it, wasting money and forgetting about how consumers are experiencing your brand in these sorts of ads. Pop-ups and banners still havent really gone away; browsers have just gotten better at blocking them. And unwieldy pre-rolls before videos are still a big issue. Look at online ad projections. Back in May, eMarketer dropped a bullish five-year forecast that sees spending on banners-yes, banners-rise 8% this year and almost 12% in 2012. Of course, paid media spending doesnt have to trend to zero to demonstrate that online marketing is becoming more sophisticated, but the growth of-for want of a better word-dumb ad types isnt exactly proof that digital marketing is getting better; nor is that subjective feeling that brands are still mostly talking at me, not with me. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 AP circular app coming to help print compete with online coupons; After the web cost them classifieds, newspapers dont want to lose important revenue source BYLINE: KUNUR PATEL AND NAT IVES; kpatel@adage.com ; nives@adage.com SECTION: Pg. 20 Vol. 81 LENGTH: 768 words

The Associated Press is developing an app it hopes will help newspapers keep their hands on a key source of their print revenue-circulars and coupon inserts-as readers increasingly read papers on iPads, smartphones and other devices. The APs app, tentatively dubbed iCircular, is actually meant to work in conjunction with the APs white-label app platform, which member newspapers can use to publish apps under their own brands. Jane Seagrave, senior VP-chief revenue officer at the AP, confirmed iCircular, which is being built in collaboration with Verve Wireless, but declined to elaborate, saying the development process wasnt far enough along. The question is whether consumers see circulars as an inherent part of newspapers, enough to peruse them in newspaper apps, or whether theyll migrate to rapidly proliferating digital coupon servicesmuch like consumers began to turn to Craigslist and other sites for classifieds. Its an important question for newspapers because circulars remain so popular with both advertisers and consumers. The first half of this year saw newspapers print ad revenue, excluding Sunday magazines, fall 3% from the first half of last year, according to Kantar Media estimates. But spending on inserts, which is tracked separately, grew 7.6%, Kantar said. Ad circulars are extremely important to almost every newspaper, said James Moroney, CEO and publisher at the Dallas Morning News. With the decline of classified print advertising, as far as printed newspaper ad-revenue categories go, it is, if not the largest for a lot of papers, always going to be one of the two or three largest categories. And because many readers buy the print edition partly or largely for the coupons, coupon apps such as GroceryIQ and Yowza Mobile Coupons could undermine the popularity of newspapers-in print or in app form.

The AP isnt alone in trying to bring circulars and coupons to newspaper apps. The Toronto edition of the free newspaper Metro offers an iPhone app, built by a Toronto company called Spreed, that lists an mFlyer, for mobile flier, among its regular news sections. Clicking it last week let readers swipe through 18 pages of H&M clothes, prices and discounts, accompanied by social-media tools, a store locator and a button that opens H&Ms mobile site within the app. Then theres Zip2Save, the digital couponing service created by Suburban Newspapers of America, a trade association, and subsequently spun off as a separate business. Zip2Save sells national ads and uses the sales forces of 1,200 partner papers to seed local deals. The service, which launched online first, is testing mobile in five markets, with dozens more on the way. Its success would benefit its partner papers, although it could also help wean coupon-clippers from the association with newspaper brands and train them to use pure-play coupon apps. And there are plenty of pure-play apps already moving in. Coupon apps like Yowza, no to mention text-services like Placecast, are inking deals directly with retailers and beginning to amass audiences. At barely a year old, Yowza has more than 5 million users. Couponing has also been borrowed by checkin apps such as Foursquare and Loopt Star; those services, too, already have millions of users. A lot of the outcome will depend on execution-how effectively, for example, a coupon app uses a consumers location to deliver a relevant deal. Placecast uses text messages to serve deals when consumers are within a certain radius of a store. The strength in mobile couponing is the ability to tie location to that coupon, said Alistair Goodman, CEO of Placecast. Is the AP going to do that with their coupon technology? Mr. Goodman reports redemption rates from 24% to 65%, depending on the category. Thats leagues above the average redemption rate for coupons across media, just 2%, according to Borrell Associates, the local-media research and consulting firm. Its unclear at this point who is going to win in the coupon game, said Mr. Goodman. It comes down to the reach you can bring to the retailer. Circulars and newspapers could continue their profitable relationship on tablets and smartphones, said Rusty Coats, a consultant in interactive media who works with Spreed. Even news-hounds among Sunday newspaper readers dont stop when the articles do, he said. Once you get to the rear of the book, so to speak, your hand starts to wander over to the advertising, and the next thing you know youre reading the Best Buy, he said. That translates very well to what youre doing on the tablet and how that might be laid out. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 ITV BARBIE BECOMES ROLE MODEL FOR MARKETERS; Mattels cable network finds success among young girls but also roadblocks in expanding across video systems BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 46 Vol. 81 LENGTH: 768 words

With her blond hair, hard-to-emulate figure and near-universal recognition by kids, Barbie has long seemed destined for TV. But getting her in millions of consumers homes in a way in which her owner, toy-maker Mattel, can measure response is a little more challenging than one might think. Since October 2008, Mattel has run an interactive Barbie channel-first on cable systems owned by Cablevision, then later on EchoStars satellite-based Dish Network. Its a far cry from TV-network fare. The channel functions more like an interactive web portal, offering kids Barbie videos on demand, as well as polls and games. Theres even a means for parents to request information about the doll and products associated with her. Now, Mattel is extending its reach by launching another Barbie channel on AT&Ts U-Verse video system in October. Whats taken it so long to expand, and why havent more advertisers achieved true national reach for similar programs? The idea, yes, is to continue to extend it, but we can only extend it as fast as technology allows, said Jeanne Hanahan, senior director-corporate media at Mattel. Not every system or carrier has the platform that would be able to host what we want the channel to be. Once confined to using TV as a way to blast slogans, jingles and the like at slack-jawed boob-tube watchers, advertisers now have the means to interact with those same viewers-and in the process alleviate their glassy-eyed stares and fire some of the synapses in their brains. Set-top boxes now allow for viewers to respond to what they see on their TV screens. Marketers are intrigued by the possibilities. According to a February survey of 100 national

marketers conducted by the Association for National Advertisers and Forrester Research, 75% of respondents believed interactive TV would be an effective source of lead generation. Still, in a sign that this technology is in a long infancy, only 28% planned to spend more on interactive TV ads in 2010. The issue is that every video system has its own peculiarities, requiring advertisers to tailor their efforts to each venue they use-making Mattels three-platform Barbie channel an interesting feat. The Barbie promotion is set to reach 19 million people, according to Michael Bologna, director-emerging communications at WPPs Group M, which helped negotiate the placement. Even so, the Barbie effort shows what marketers can really do with TV these days. Mattel wanted to design a place where girls between the ages of 2 and 11 could go to experience all things Barbie. Using ads placed on local cable systems-often on kid-focused channels such as Viacoms Nickelodeon or Time Warners Cartoon Network-as well as banners placed on the cable systems electronic program guide, Mattel sought to push kids and their parents to watch and experience Barbie-focused videos and games. Between September 2009 and April 2010, Mattel found girls were spending nearly 17 minutes with the channel on Cablevision, and spending over eight minutes with the channel on Dish. Mattel also garnered 17.7 million page views throughout the time period, and obtained over 69,000 leads from a section of the channel that allowed parents to request information. At Cablevision, the Mattel channel was part of an overall package that included tune-in ads advising viewers of Barbies presence, said David Kline, president-chief operating officer of Cablevisions Rainbow Advertising Sales Corp. When advertisers use the tactic, he said, theyre getting accountability, because we tell them how many viewers came, how many videos they were watching. One analyst sees room for more experimentation with the technique, and believes advertisers can win a national audience-if they can maneuver through most of the top video providers. The top 14 operators will get you about 90% of the market, said Bruce Leichtman, president-Leichtman Research Group. Digital is being pushed into households. So as long as theres capacity, why not? If only going national with interactive promotions was as easy as a snap of the fingers. The longer it takes for marketers to achieve national distribution, the more risk cable providers and others have of missing out on this wave entirely. Group Ms Mr. Bologna sees a day in the not-too-distant future when consumers connect their TVs to the web, allowing Mattel to set up a Barbie internet portal that anyone can access, no matter what their video provider may be. Were not relying on infrastructure of a particular operator or the capacity of a particular set-top box when were working the worldwide web, he said. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH

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Advertising Age September 27, 2010 THIS CHRISTMAS, BEST BUY BETTING ON THE POWER OF TV TO SELL TVS; Move could give retailer a competitive advantage, however, more marketers are warming up to the glow of the tube BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 5 Vol. 81 LENGTH: 653 words

For those of you sick of hearing the TV-is-dead drumbeat, here are two words: Best Buy. The retailer is shifting millions of dollars into TV-yes, you read that right-in a move that not only goes against the grain but is notable given Best Buys aggressiveness in digital and social media. TV has now become an almost unconventional medium, because people have followed the news, said Drew Panayiotou, senior VP-U.S. marketing at Best Buy. Theres been an enormous amount of news [around] social and digital. Yes, weve been successful in social media but in my 16 years of marketing, Ive learned that if you take an unconventional view of marketing channels, you get unconventional results. The consumer electronics giant wouldnt give exact figures, but it is increasing its spending by a low double-digit percentage. In 2009, it spent $150 million on TV advertising, according to Kantar; network TV ads accounted for $65 million of that figure. To free up funds for TV, the retailer is pulling money away from inserts and trimming distribution in parts of the country where newspaper readership has suffered.

In bulking up on TV, Best Buy is bucking a trend. According to Ad Ages Leading National Advertisers report, spending by all U.S. advertisers on network TV fell 7% in 2009, while spending for spot TV, syndicated TV and cable TV was also down. Freestanding inserts saw a 3% increase between 2008 and 2009 while internet spending, the only other media category to see an increase, rose 7%. Still, while investing more in TV may be counter to what some major marketers are doing, Steve Farella, CEO of independent media agency TargetCast TCM, points out that TV, generally, is bouncing back this year. We know the upfront was tighter, and the scatter market is unbearably tight. Those two things together let us know that people have increased spending in television, he said. Mr. Panayiotou, who joined Best Buy from Walt Disney Co. in January, said the move resulted from the company implementing a new marketing-mix model as a means of making its spend more effective. Best Buy, working with IBM, ran the model earlier this summer, and some of the results came as a surprise. [The model] said, overall, the mix was off. It said if we shift dollars away from inserts to television, we would generate a pretty good lift in revenue and related profits, Mr. Panayiotou said. When you have big budgets like we do, a 5% to 10% improvement is a big deal. Mike Gatti, executive director of the Retail Advertising and Marketing Association, believes the reallocation of dollars to TV could be a competitive advantage for Best Buy. Its almost like companies pushed the needle a little too far. Im hearing companies say they feel theyre not getting as much ROI as they expected out of their digital campaigns, he said. Were seeing a shift back to traditional media. And TV still has a gigantic reach. Based on the models recommendations, Best Buy has also tweaked its digital spending, putting more money into display advertising. And its also considering putting more money into events. Mr. Panayiotou said that the model made other suggestions, which the retailer is still evaluating. His team is looking at everything from events to the loyalty program, digital to online search. The consumer-electronics giant has just begun to implement these changes and expects it will see results headed into the all-important holiday season. MDC Partners Crispin Porter & Bogusky, Best Buys creative agency, will also pick up additional work, as new spots are required. Publicis Starcom handles media buying. This is just the beginning of a new way of thinking at Best Buy. Mr. Panayiotou said that part of the media evaluation involves determining what media can best help the retailer meet certain business objectives, whether its a new product launch, driving traffic to stores or building brand loyalty. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 27, 2010 Yahoo, AOL blow up display advertising in effort to entice brands; Portals roll out huge ad units with interactive, social tools, hoping to spark creativity and effort in tired web medium BYLINE: MICHAEL LEARMONTH; mlearmonth@adage.com SECTION: Pg. 10 Vol. 81 LENGTH: 336 words

Two struggling web giants-Yahoo and AOL-are looking to blow up online display advertising in order to save it, and save themselves in the process. Theyre hoping bigger ad units will spark creativity and excite brand advertisers about the webs first ad medium. This week Yahoo rolls out Scoreboard, which brings advertisers video, text or photo content into an expandable unit with social tools, and Mag Ad, which takes over the page and flips like a magazine or a catalog. Yahoo took a big risk on its core business earlier this year when it converted its log-in page-visited by one in three Americans each month-into a giant, splashy ad, first for GM and then for other marketers like Macys, Walgreens and CBS. It was a controversial move. Mail is a critical component of users lives; weve never done anything like that and dont want to jar the [users] or scare them away, said Senior VP-Global Marketing Mollie Spilman. AOL this week introduces Project Devil, an enormous new ad unit that includes several modules for content, images, video, Twitter feeds, Facebook integration and the like. Those ads launch on Moviefone and Stylist, but AOL has an even loftier ambition: Syndicate these new ads off AOL properties to other publishers.

I was pushing really hard for it, but people are wondering, Can AOL be the one that instigates change in display ads? Can we redesign the internet? said AOL CEO Tim Armstrong. Banner ads have been growing in the single-digits since 2007 according to eMarketer, projected to reach nearly $5.5 billion in 2010. Meanwhile, brands and agencies are distracted by a whole generation of new social tools from Facebook and Groupon to YouTube and Twitter. Right now all display media online is basically at the bottom of the same barrel, and the only time anyone does anything good is when its a custom media buy that you can only do once, said Benjamin Palmer, CEO of Barbarian Group, who helped AOL develop Devil. Better ads and some curation are going to change the market. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Why marketers shouldnt always blame the media; Creative, strategy are just as important as the ways in which they are dispensed, and often have bigger sales impact BYLINE: JACK NEFF; jneff@adage.com SECTION: Pg. 10 Vol. 81 LENGTH: 850 words

Blaming the messenger, as opposed to the message, has a time-honored history, but perhaps nowhere more than in marketing, where blame or credit for campaign success has focused increasingly on

media plans in recent years as marketers used increasingly sophisticated analytics. But in fact, creative can have a much bigger impact on effectiveness and sales than media. Its no wonder media gets lots of scrutiny. Its the last stage of the process, and thus the proximate cause of the results, and the biggest outlay in most marketing budgets. Yet a large and growing body of evidence points to advertising messages and the strategy behind them playing at least as much of a role in marketing success as the media plans that carry them. The blame the media focus recently became clear to Lakish Hatalkar, who heads integratedcommunications planning, package design and innovation for Novartis Consumer Health while planning a panel he was asked to moderate on marketing accountability for a meeting of the Consumer Healthcare Products Association. We were only talking about media, he said. If you go to most any marketing-accountability session, they all talk about things like TV vs. print vs. digital and whats the right mix. Its like the tail wagging the dog. This should not just be about media choices. What marketers say, and whom they try to say it to-the creative and strategy-are at least as important as how they say it, as Mr. Hatalkar, and the Procter & Gamble Co. marketing framework he grew up with and helped develop, see things. The creative often has a far bigger impact on sales than the media choices, as Gregg Ambach, managing director of Analytic Partners in Cincinnati, has seen over two decades in marketing analytics. One problem is that the creative impact on sales is often harder to quantify, analyze or predict. You can do more to move the needle from an effectiveness standpoint with creative than anything else, he said. The media mix may have a bigger effect on efficiency-i.e. getting the results at a lower cost, he said. But in terms of how big the volume bump is, creative is going to be the single biggest change you tend to see from one campaign or one piece of advertising to the next. But unless marketers run their ads in such a way as to test the creative in market-different ads in different geographies, for example-its hard for marketing-mix models to pick up the difference in impact from different creative. One way to try is by factoring copy-test scores into the analysis, but that poses problems too, Mr. Ambach said. There is a relationship between copy testing and in-market performance, he said, but as a former boss of mine said, its a relationship you want to squint at, not stare at. Another factor that may make marketers scrutinize media more closely than the creative, he said, is that they have a lot more personally invested in the creative. The marketer either developed the strategic brief, approved the creative or both, he said, but is less likely to have developed the media plan. Research based on marketing-mix modeling actually suggests the importance of creative relative to

media has risen over time, said Mike Hess, exec VP-research, marketing science and consumer insights at Carat. He points to research led by Wharton Professor Len Lodish revisiting in-market advertising test results from SymphonyIRI, which indicated the role of strong creative, as measured by copy-test scores, was actually greater in 2007 than in 1995. But one reason marketers are more likely to focus on media is that a lot more has changed there than with creative. What worked as an advertising message hasnt changed nearly so much in the past 15 or 20 years as the media landscape, Mr. Hess said. There used to be four or five touch points, he said. Now there are more like 25 or 35. Still, Sunny Garga, principal of MPhasize Analytics, believes the accountability focus now is swinging away from media and toward creative. I think the pendulum had shifted too much to media and media mix, he said. Whats really driving this [shift back toward creative focus] is that clients are realizing that not all creative fits all media, that creative has to fit the media. He believes the analytics and data in models have improved to the point that theyre better able to separate impact from creative and media than before, and hes increasingly encouraging clients who have copy-test scores to make them available to feed into the analysis. Ameritest, in analyzing more than 60 over-the-counter drug ads with more than 2,400 consumers earlier this year, delved into whether different creative approaches could affect how much consumers were willing to pay for a product. The firm found that better creative really did have a significant correlation with prices consumers expected to pay for products, though other factors, such as how well consumers related to the characters in TV ads or how likely they said they were to tell friends about the ads, had a slightly higher correlation with how much consumers were willing to pay for the product. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Introvert with Napoleonic ambition now in his sixth year driving experimentation and success at publisher BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 34 Vol. 81 LENGTH: 638 words

CHRISTOPHER BATTY HEAD OF SALES GAWKER MEDIA When Gawker Media founder Nick Denton first met Christopher Batty 10 years ago, the two were based in Silicon Valley, working at different ends of the brewing internet-bubble economy. Mr. Denton, a British expatriate and a former reporter for the Financial Times, had founded Moreover Technologies, a news aggregator, and Mr. Batty had been working in business development at CNet. Mr. Denton, who even by then had secured a reputation as a peripatetic entrepreneur, recalled his surprise at Mr. Battys brazen salesmanship. He nearly managed to sell me a link credit at the bottom of the front page for $500,000, Mr. Denton said, describing what ultimately was a failed sale. More than that, he still maintains the proposed deal was worth it. He never did understand that deal! Mr. Batty said in response. Hes now in his sixth year heading up sales at Gawker Media. I think Nicks point was that if I could convince him to invest a large-for him at the time-sum, I was a talented marketer. I was in turn entertained by this, and a relationship formed. That relationship has resulted in one of the most closely watched and widely read internet publishers today, with more than 18.9 million monthly readers, according to ComScore, a figure that puts Gawker in a league with more traditional newspapers online. Its come to represent a version of dotcom success, very publically defined by Gawkers editorial sensibility and less publically, though no less significantly, by its business instincts. And by all accounts, it is Mr. Batty who drives much of the companys publishing ambitions. While Mr. Denton is the impresario, Mr. Batty is a self-confessed introvert. But dont let that fool you. Theres one thing that people dont quite get about Chris: his Napoleonic ambition, Mr. Denton said about Mr. Battys role and demeanor. Even when hes on top of the world, he still seethes with the resentment and drive of an underdog-which is what made him such an appropriate fit for Gawker. Despite his undergraduate visage and boarding school sartorialism, the 37-year-old Mr. Batty projects a kind of weary resolve. His pitch is measured and matter of fact, verging on cynical. You

get the sense that he could care less if the person on the other side of the table doesnt buy his offer. That attitude is perhaps most visible in his decision to stop selling any Gawker pages through ad networks, which Mr. Batty said cost the company close to $40,000 a month when they cut that cord about five years ago. I had to convince Nick to stop doing it, he said. You cant give up your brand like that. Some of Mr. Battys sales efforts, like a deal with HBO to promote its hit series True Blood by announcing Gawker had acquired a new blog about vampires, are unconventional. But Mr. Batty doesnt see the tension between editorial and advertising as a drawback. When you have the benefit of working for a company like Gawker, where weve got great people in editorial that are tasked with satisfying audiences, as well as great people that are working on the business side that are tasked with satisfying marketers, your ideas can evolve, he said, referring to the fact that both sides of the aisle have had to change their thinking about the ongoing role between edit and advertising. Some of Mr. Battys advertising experiments have rankled Gawkers editors. Choire Sicha, a former editor of Gawker and now part-owner of The Awl, once posted on the site his distaste for an Evian takeover ad that turned the whole site pink. He suggested the editors refuse to post until ad sales stop the encroaching madness. Separately, Mr. Sicha responded via email: Chris Batty is an ambitious, aggressive, cunning admanhes a huge reason why Gawker Media is exactly what it is today. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 FTCs top consumer cop likes personalization of web; David Vladeck sits down with Ad Age to talk about state of online advertising, deception and Facebook

BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 22 Vol. 81 LENGTH: 1231 words

David Vladeck, the man who in many ways is in charge of policing the internet for the Federal Trade Commission, is not on Facebook. He demurs when asked why, but he makes it clear that it has nothing to do with any personal concerns he may have over potential discretion or dishonesty on the part of the social network. My kids are on Facebook, he said in a recent interview. I do go online, of course. I do some online shopping, and actually I dont enable the do-not-track browsers. I sort of like the personalization. I like that I dont have to go back and reset things. Mr. Vladeck is nothing if not careful and considered in his statements. But as the director of FTCs Bureau of Consumer Protection, the former Georgetown Law professors pronouncements show he has a much more complex and graded view of digital media, despite concerns from some quarters of the ad industry that he and FTC may be overly censorious when it comes to online advertising. My view is if you tell people youre collecting information for the singular purpose of delivering targeted ads to make the internet more personal, I dont think most consumers would have a problem with that at all, he said. But one of our principal concerns here at the FTC is that consumers generally dont realize theyre being tracked. Mr. Vladeck goes on to point out a range of emerging issues in this area, from a lack of sufficient awareness around how marketing (online and offline) may be affecting children to what could be considered sensitive information. Theres no broad consensus on any of those once you start drilling down, he said. But in clear cases of fraud or deception, Mr. Vladeck has acted swiftly and aggressively. When he was appointed to the FTCs bureau in April 2009, he pushed forward an already planned investigation of a market-research program in which Sears paid consumers $10 to download a piece of tracking software onto their computers that would monitor how they shopped online. The FTC charged the companys failure to disclose the scope of the tracking softwares data collection was deceptive and violates the FTC Act. Among other things, Mr. Vladecks office found the software tracked a consumers bank accounts and drug-prescription records. The retailer settled with the commission last year by destroying all collected data and making any further attempts to track data more prominent and clear. Sears, in some ways, was an absolutely classic deception case, Mr. Vladeck said. Sears enticed people into participating in this program by offering a few dollars but not really telling them what they were doing with the data. While Mr. Vladeck called it a classic deception case that hinged on full disclosure and notice, he said it was as much about a consumers dignity as well.

David is very compassionate, said Pamela Gilberts, a close friend and former colleague. Ms. Gilberts, who is now a partner at the D.C. law firm Cuneo Gilbert & LaDuca, worked with Mr. Vladeck at the Ralph Nader-run advocacy group Public Citizen in the 1980s and early 1990s. Davids very concerned about the underrepresented or the unrepresented and how to make sure that the law treats everybody fairly, she said. He comes from a family who stood up for the little guy, and thats really part of Davids anatomy. Mr. Vladek grew up in a family of lawyers in New York City, where his father, Stephen, founded a firm specializing in labor law. The family patriarch, Baruch Vladeck, was a noted Jewish labor leader, but it is David Vladecks mother, Judith, who is perhaps the familys most well-known member. A prominent labor lawyer who worked at her husbands firm, Mrs. Vladeck was noted for her courtroom showmanship and her staunch advocacy of women in the workplace. She brought cases against major Wall Street firms such as Chase Manhattan Bank and corporations such as Union Carbide. I think apples dont fall all that far from trees, Mr. Vladeck said, crediting his parents for having seeded his passion for representing the underclasses. My job at the bureau is to protect those people who might not adequately protect themselves in the marketplace, he said. While the online marketplace is still a fraction of all commerce, it is arguably the least formed, making it a closely watched area of policy and regulation. There are any number of debates (and lawsuits) centered on consumer privacy vs. digital growth, but the presiding issue is about regulation. The ad industry has a self-regulation policy where consumers are given information and control over how their online data are being tracked and used and the ability to opt out of being tracked. In Mr. Vladecks view, these moves have been commendable, but the problem is theres no uniform device, meaning not every corner of the internet has enabled the same opt-out program. Furthermore, he doesnt think seeing the debate in opt-out vs. opt-in terms is helpful. Opt-out suggests consumers would be defaulted into a tracking ecosystem (which is the current reality), whereas opt-in is the opposite. Im sure youve seen opt-ins that are very difficult to use, he explained. And there are opt-outs that are easy to use and vice versa-its a false dichotomy. These terms have no real definition. The question is how do you give consumers real choice? Another much-discussed policy fault line is the proposed Do Not Track list, akin to a Do Not Call list, prohibiting marketers from tracking people online. While the idea was recently broached by FTC Chairman Jon Leibowitz in a Senate panel hearing, Mr. Vladeck said its not a technically viable option for the moment. In other areas, however, he sees technology that has advanced to potentially harmful levels. For example, he worries the increasingly granularity of online data mining has made it possible to define personally identifiable information, such as name, address or Social Security Number. The ability to analyze data has grown by leaps and bounds, he said. And the more granular the data, the more valuable it is.

The drive now is to push companies and consumers in the direction of aggregating as much data as possible, he said. What are they going to do with that data? And did they let consumers know what they plan on doing with it? Mr. Vladeck has had to quickly learn the often very technical issues around internet advertising, and in doing so has endeared himself to both sides of the debate. I briefed David a month prior to him taking over at the bureau, said Jeffrey Chester, executive director of the Center for Digital Democracy and a longtime privacy advocate. David had only been vaguely aware of issues related to online advertising, but he picked it all up very quickly. Industry trade group Interactive Advertising Bureau has also met regularly with Mr. Vladecks office. I think in many ways David Vladeck is probably the most important decision maker in D.C., because he has real impact on business practices, IAB VP-public policy Mike Zaneis said. He doesnt have to wait for Congress to move or wait for a majority of FTC commissioners to agree. I think this is his dream job and hes taking it very seriously. Is this his dream job? Dream job? Mr. Vladeck repeated, when asked. Well, lets say Im having a great time. In some ways, this job is now allowing me to do what Ive prepared my whole life to do. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Three truths about the media future-including The End of Rupert Murdoch, the return of magazines and rising desperation in VC Land

BYLINE: SIMON DUMENCO SECTION: Pg. 24 Vol. 81 LENGTH: 1813 words

1. This really might be The End of Rupert Murdoch-but not for the reasons you might think. Imagine if a reporter at a big newspaper figured out a way to secretly access your cellphones voicemail. Imagine if, one night, youd engaged in some sort of perhaps ill-advised leisure-time pursuit-say, visiting a strip club, even though youve got a girlfriend. Imagine the reporter later hacking into your voicemail. And then imagine that reporters newspaper running a big, splashy piece that prints the verbatim text of a voicemail your brother left for you (How the hell did they get that?!, you think), in which he teased you about how pissed off your girlfriend is about your indiscretion. Now imagine you are Englands Prince Harry, your brother is Prince William, and the reporter works at Rupert Murdochs News of the World. This actually happened in 2006, and after not too much time it seemed like old news-Scotland Yard got involved and seized files from the home of a private investigator on the News of the Worlds payroll. Turns out he had the cellular numbers of thousands of potential high-profile phone-hacking victims. The PI and the reporter he worked with ended up in jail. The scandal seemed contained, and Murdochs News Corp. insisted that it was an isolated incident resulting from the actions of a couple rogues. But then, earlier this month, The New York Times Magazine published a cover story detailing the rather delicious fruits of a months-long, three-reporter investigation of News Corp.s phonehacking scandal that suggested, rather forcefully and convincingly, potentially widespread abuses-a culture of lawlessness, if you will, in a Murdochian newsroom-and an all-too-deferential-to-Murdoch Scotland Yard that failed to even scratch the surface in deciding to prosecute only one reporter and PI. Now the crap is hitting the fan anew. Additional high-profile Brits outside the royal family have been slowly learning that their privacy has been illegally violated by News of the World; at least one has sued and has already scored a million-pound settlement. Hundreds more such suits might be forthcoming. Getting a letter from Scotland Yard that your phone has been hacked is rather like getting a Willy Wonka golden ticket, a lawyer told the magazine. Time to queue up at Murdoch Towers to get paid. News Corp. sees the Times Magazine piece as an act of war-which, of course it is, because Murdoch has essentially declared war on The New York Times in his repositioning of his Wall Street Journal as a national general-interest newspaper. But, geez, Tabloid Hack Attack! (as the Times Magazine cheekily titled its cover story) is still a damn good yarn-and a solid investigative report. The repercussions for Murdoch keep getting uglier and uglier. Slates Jack Shafer just ran a column titled Murdochs Watergate and subtitled The U.K. phone-hacking scandal will undo the media

mogul. A lot of the ugliness has to do with the fact that Andy Coulson, the top editor at the News of the World in 2006-he ultimately resigned but claimed ignorance of the phone hacking-ended up on the payroll of the Conservative Party. And hes now the top communications aide to British Prime Minister David Cameron. (The Times Magazine investigation suggests quite vividly that Coulson knew about, and condoned, the phone hacking that happened on his watch.) Is this potentially the end of 79-year-old Rupert Murdoch? Sort of-but not directly because of the phone-hacking scandal. Remember, News Corp. has a frightfully powerful war-room-and Murdoch personally owns/controls much of the British press, which is why it took Americas newspaper of record to convincingly turn up the heat on the News of the World crimes. And legal fees-even if News Corp. has to pay out hundreds of individual settlements to hackees-likely wont materially affect the bottom line. No, whats really going to do in Murdoch is the distraction-and the humiliation. The New York Times has not only gotten the better of him, it may just mobilize the British government to properly investigate News Corp. which is just not fair, because Rupert thinks hes the only one who gets to control British pols! Epic legal distractions are bad enough for 79-year-olds at war with The New York Times, but right now Murdoch is also waging another big war-vs. reality. I dont mean the reality of actuarial tables (the average Australian man lives 79.33 years). I mean the reality of free vs. paid in the webs general-interest news ecosystem. Murdoch is currently engaged in a quixotic quest to get online newspaper readers to pay up, sealing News Corp. papers, tomb-like, behind paywalls-including, starting next month, News of the World (hilariously enough). Last week, the usually sober Bloomberg News ran a piece with the wry headline, Murdoch Banks on Rooney Hooker, Cocaine for Paywall Plans. For non-Brits not familiar with current Murdochian scandal-mongering, those are references to a News of the World scoop about boxer Ricky Hatton supposedly snorting cocaine on video and the papers interview with a prostitute who allegedly bedded soccer star Wayne Rooney. Bloombergs Kristen Schweizer writes that Murdochs son James (doing his fathers bidding as chairman of News Corp.s European and Asian operations) is extending his paywall model even as advertisers flee websites of two of his other newspapers where internet readers have to pay. Schweizer quotes Chris Bailes, digital trading manager at Starcom MediaVest Group, as saying, I can go to the Guardian or CNN and get an audience. No one is indispensable. Appallingly-but not surprisingly-News Corp. is keeping mum on the extent to which traffic at its two newly paywalled papers, The Times and the Sunday Times, has collapsed. But Bailes isnt taking any chances; hes slashed his ad spend at those papers more than 50%, telling Schweizer, We wouldnt put our money where we dont know the numbers, just as you wouldnt invest in a stock. Lets recap, shall we? While Murdoch attempts to do the impossible-get readers to pay for the first version of stories about coke-snorting and hooker-screwing athletes that almost instantaneously get aggregated and disseminated around the free web-hes also personally getting entangled in his own Watergate, a scandal that could very well consume his attention until he dies.

At which point News Corp.-which today gets most of its revenue from its non-newspaper operations, including 20th Century Fox (which distributed Avatar)-shutters its money-hemorrhaging newspapers (e.g., the New York Post) and sells the remainder of Ruperts inky fetishes (e.g., The Wall Street Journal-to Bloomberg, Id bet). This will happen a lot sooner than the increasingly mortal Rupert Murdoch could ever imagine. 2. The magazine industry is roaring back, baby! Next week Advertising Age releases its closely watched annual magazine A-List-a compendium of thriving titles masterminded by our lead magazine-industry reporter Nat Ives. Im not going to give you any hints about whos on it, but I can tell you this: Putting together the 2010 list was way more enjoyable than putting together 2009s list (last year, in the throes of one of the magazine industrys worst-ever years, flat or only slightly down was the new up-as opposed to down-30%-in-ad-pages, which was the case at many of the biggest national titles). I think the A-List package (what Ive seen of it so far) will be an essential-even inspiring-read, because it chronicles the efforts of whip-smart editors and publishers who are finding ways to make magazine brands exciting again, both on and off the page. Please check it out next week. 3. The Web 2.whatever bubble isnt popping, exactly, but it is going to start getting a lot less fun. Last week influential (and feared) Silicon Alley blogger Michael Arrington, founder of TechCrunch, published a widely shared post titled So a Blogger Walks Into a Bar He wrote of attempting to crash a meeting of investors at Bin 38, a San Francisco restaurant/bar. Hed been tipped off about the meeting and thought hed peek in to say hi, see who was present, and perhaps join the group for a drink or two before being shooed off while they talked about whatever they thought should be kept off record. Instead, he was met with icy silence and was shooed away immediately. He paints this scene of the private room in the back of the restaurant: Sitting around the table, Godfather-style, were 10 or so of the highest-profile angel investors in Silicon Valley. These investors, known as super angels because they have mostly moved on to launch small venture funds of their own, are all friends of mine. I knew each person in the room very, very well. Perplexed by their hostility, he did some after-the-fact investigating and has concluded that these investors-who he says account for nearly 100% of early stage startup deals in Silicon Valley-had a discussion that flirted dangerously with colluding (and I dont use that word lightly) with the goal of, among other things, freezing out other investors and depressing valuations of startups. Cmon, lets not all act so shocked, shocked. Because I think were arriving at that moment when the Web 2.whatever (2.0? 2.6? 3.1?) bubble is potentially going to seriously start sagging. The history of venture capital, remember, is that VCs mostly throw good money after bad. Investing, especially at the startup-fetal-stage, is always a gamble. And yet even in the thick of the Great Recession, were still mostly suspended in this fog of artificial euphoria as VC dollars continue to prop up tons of silly

startups that have little hope of ever becoming self-sustaining, let alone earning out their VC backing. (The media rarely questions even the most obviously idiotic Valley startup because, hey, they got funded, so somebody thinks its a good idea, right?) A lot of these startups are clustered around the Facebook and Twitter ecosystems, but whats increasingly becoming clear is that Facebook and Twitter will happily let barnacle-like startups cling to their hulls for a while. These startups, flush with VC cash, busy themselves figuring out clever hacks and complementary services that satisfy unmet consumer demand. Facebook and Twitter watch and learn, and then, if it serves their purposes, they stoically move to scrape the barnacles off while absorbing their ideas and business models, while cheerfully saying, Hey, barnacles, were still friends, right?! (See: Facebook taking on Foursquare with Facebook Places.) Increasingly, this is not a happy time for a lot of startups and the VCs who are backing them. Arrington practically recoiled at the heady scent of Corleone-esque power emanating from that San Francisco restaurants back room. But maybe what he was really picking up on was the stench of desperation. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 WELCOME TO OUR FIRST-EVER MEDIA ISSUE SECTION: Pg. 3 Vol. 81 LENGTH: 569 words

We were inspired to turn over this weeks pages to all things media because theres just so much to talk about. For starters, measured media remains one of the larger, if not the largest, outlay for many marketers, and the recipients of those dollars, media companies, appear to be clawing back growth after a rough 2009. In the Ad Age DataCenters annual Media 100 report, we look at how the 100 largest media players fared last year and how this year is trending. The good news? They climbed 6.1% in the first six months. The not-so-good news? That growth hasnt exactly been driven by advertising, as Bradley Johnson writes on P. 26. Then theres the issue of technology driving change. Consider the marketer that now has its own interactive TV channel (P. 46) or the business that-can it be?-seems to have cracked the viral code ((P. 16). But is it all good? In an essay on P. 58, Matthew Creamer explores five reasons the internet could suck in a few years. Finally weve got what Ive taken to calling the everybodys in the pool story. Simply put, marketers are turning themselves into mini media moguls, publishers are doing the job of agencies, and agencies are vying for whatever they can get their hands on. Rupal Parekh and I explore this new order on the next page-its a trend rife with opportunity, conflicts, co-opetition and frenemies. Speaking of frenemies, Creativity Editor Teressa Iezzi takes us inside the mad experiments going on in the Google Creative Lab (P. 6). She explains: When Google launched the Creative Lab three years ago, the announcement came with the usual side order of suspicion from ad watchers. The assumption was that Google was starting an agency that would eventually eat the lunch of its traditional rivals. It turns out Google is doing something far more diabolical: Its recruiting an army of young creative and tech talent, training them and sending them out into the industry to conquer it from within. Theres still a lot to be learned from Google. Theres also a lot you can learn from this years talented crop of Media Mavens, which we highlight starting on P. 34 with Chris Batty, Gawkers secret weapon. For example, Mindshares Dave Adelman warns us to never underestimate how important newspapers are for a retailer, and Novartis Lakish Hatalkar points out the No. 1 media vehicle for any packaged-goods brand is the package. It wouldnt be fair if I didnt take a moment to highlight some of our own talent that is helping our audience navigate an incredibly complex, changing world. A big nod goes out to three recently promoted Ad Agers: our newly appointed media editor, Nat Ives, whose fingerprints are all over this issue; Michael Learmonth, who is assuming the post of digital editor and making official a role hes filled for some time; and Rupal Parekh, who has been named agency editor, and will continue helping us find new and valuable ways to serve that audience. Finally, if this issue leaves you wanting more, well, good. Because weve got it. Along with our Media Guy, Simon Dumenco, weve opened up the Media Vanguard Awards, which aim to uncover the best innovations in the media world. And on Nov. 30, were convening some of the sectors smartest minds at our Media 2011 conference to talk about the issues were facing now. Its Media Forward, not backward, and the rules are very different.

So what are you waiting for? Jump in. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Forbes new advertising pitch: Wanna buy a blog?; The revenue side of DVorkins AdVoice model means advertisers publish under companys banner BYLINE: MICHAEL LEARMONTH; mlearmonth@adage.com SECTION: Pg. 8 Vol. 81 LENGTH: 1188 words

When Forbes bought blogging startup True/Slant, it got a familiar face in True/Slant CEO and former Forbes editor Lewis DVorkin but an entirely unfamiliar editorial model for its website. Staff writers were given blogs and, even more striking, outside contributors were invited to start blogging under the Forbes banner in a bid to create what Mr. DVorkin, whod now become chief product officer of Forbes Media, calls a much more scalable content-creation model. The visual expression of this is being rolled out in a redesign of the magazine and website this week. But theres a business side to Mr. DVorkins big idea, too, and thats whats taken him on sales calls to Detroit along with chief revenue officer Kevin Gentzel. The pitch is this: Well sell you a blog, and your content will live alongside that of Forbes journalists and bloggers. This isnt the sponsored post of yore; rather, it is giving advocacy groups or corporations such as Ford or Pfizer the same

voice and same distribution tools as Forbes staffers, not to mention the Forbes brand. In this case the marketer or advertiser is part of the Forbes environment, the news environment, Mr. DVorkin said in an interview at an empty restaurant across Fifth Avenue from the historic headquarters of the 93-year-old magazine. The product itself is called AdVoice, and the notion is that in a world of social media, corporations have to become participants and, in a sense, their own media companies. Corporations these days also have to face the practical problem of fewer business reporters left to pitch. Theres fewer ways to get your message out, because there are fewer reporters, and thats a fact, he said. This was the never-realized revenue model behind the blogging platform True/Slant, which Mr. DVorkin was pitching to marketers before Forbes bought the company in May, bringing him back to the magazine where hed been an executive editor in the late 90s. Since then, Mr. DVorkin has been pulling apart the website and magazine, merging staff and contributed content, and generally blowing apart how journalism, blogging, reader contributions and advertising fit together on the web, in the magazine and everywhere Forbes content is published. For the last however many decades of traditional media, youre a reader so your stuff can only go here, Mr. DVorkin said, starting to get animated. Youre an advertiser so stuff can only go here. And our stuff? It goes right here. But theres a flow of content thats contextual. Anything can appear in any place as long as its contextual-thats the web and we are bringing that sensibility to the magazine. Forbes has always attracted a significant web audience; it says its site reaches 18 million people around the globe each month. But its now assaulted on all sides by low-cost blogs siphoning off page views with derivative content. Forbes.com got about 5.7 million U.S. visitors in August (including traffic to Forbes Investopedia site), down about a million from August 2009, according to Nielsen. Thats still ahead of Reuters.com, but behind Bloomberg Digital and well behind behemoths like Yahoo Finance, with 28 million unique visitors, and The Wall Street Journal Digital, with 11.5 million including traffic to MarketWatch. Forbes hasnt announced a client for AdVoice yet, so its hard to know how transparent it will be in practice, but the executives say it will be obvious from the labeling whos doing the talking. We feel in a very transparent and clearly labeled manner that these voices can commingle under the Forbes brand umbrella to provide a rich experience for our users, Mr. Gentzel said. If an auto manufacturer is in the midst of a new-car launch and has a great story behind the creation of a highperforming engine, they should be able to tell it and to stream into our tech topic flow, or automotive topic flow, as long as its clearly labeled. For a couple of guys trying to blow up the publishing model, Messrs. DVorkin and Mr. Gentzel are walking publishing stereotypes, at least visually. Mr. Gentzel, the sales chief, could step into the cast of Mad Men; Mr. DVorkin, wiry and disheveled, is more a mad scientist experimenting with fundamental elements of news, PR and advertising.

Consumer marketers such as P&G and Johnson & Johnson have years of experience creating branded entertainment, and many have arms dedicated to creating entertainment properties. But the motivations have broadened in an age of social media. Theres an ongoing conversation about corporations-not always nice, as BP or Toyota could tell you-and corporations feel they must participate. The changes at Forbes since it bought True/Slant and brought Mr. DVorkin back have gone beyond strategy. Theyve also included an exodus of top-level editors, two of whom declined to comment for this story. Marketers will try AdVoice, although theyll have to consider whether to invest in hiring bloggers, retraining PR staff or, well, just outsourcing it to Forbes to make it effective, said Chris Perry, CEO of digital at PR giant Weber Shandwick. The impact on the Forbes brand, however, is less clear. Is it a genius move or does it permanently tarnish the brand and credibility of the outlet? he said. Its all about how advertiser content is presented, according to former BusinessWeek editor Stephen Shepard, now the dean of the Graduate School of Journalism at the City University of New York. The golden rule from an editorial point of view is there should be a clear distinction between what is produced by editorial staff or a blogger and a marketer who is paying for space on the site, Mr. Shepard said. You dont want to deceive the reader. Readers have to understand what they are getting and the source of it. Then theres the question of how Forbes AdVoice posts appear in search. While brand websites tend to appear prominently in natural search results, their ads dont. Forbes is nothing if not expert at optimizing content for search, and now advertising or corporate blog posts could benefit from that. Think press releases with as many links and Google juice as a Forbes article. Mr. Gentzel said the labeling for the posts would extend to search. Forbes plans to charge for this approach on a flat-fee basis, which means that marketers producing the most appealing content will, theoretically, get more readers and a better deal on a cost-per-thousandreaders, or CPM, basis. Also on the way: a tool from Forbes to measure brand reputation, or, partly, whether a Forbes blog actually works. Forbes staffers-not editorial-will provide consulting services to help position the marketers content. In the old days, those staffers might be producing advertorial for marketers, which was usually obvious because it was, well, pretty bad and generally a big step down from magazine editorial. But with paid and unpaid bloggers as well as the self-published musings of staff writers circulating among magazine content, a good post from a marketer might have a chance for eyeballs. Said Mr. DVorkin: Marketers need to reach the audience. This is where publishing is headed. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 27, 2010 WHAT THE MEDIA AGENCY OF THE FUTURE WILL LOOK LIKE; As industry evolves to keep up with changing technology, 11 leaders share their visions of whats to come BYLINE: MICHAEL BUSH; mbush@adage.com SECTION: Pg. 11 Vol. 81 LENGTH: 965 words

The days when media agencies were relegated to planning and buying are long gone. Today, media shops need to be able to run digital and social-media campaigns, provide critical consumer analytics and even create content. And as the nature of media and the way we consume it continues to change, media agencies are forced to transform in order to remain relevant. But what will media agencies look like 10 years from now? Ad Age asked a number of media agency leaders what they believe the agency model of the future will look like. Mainardo De Nardis, global CEO of Omnicom Groups OMD: Media agencies will need to adapt to the reality of consumer-controlled marketing. This means redefining our offer from media to integrated marketing communications, and re-orienting the process around market insights, desired consumer behaviors and profitable business outcomes. The agency of the future will not only enable deeper conversations between consumers and brands, it will architect and monetize them. And clients profits, together with their overall business performance, will be the only real measure of media-agency success. Lisa Donohue, CEO of Publicis Groupes Starcom USA:

Its always been about the talent. And in the future, that will be even more critical as agencies will be staffed with a new breed of listeners, students of the human condition, data interpreters and idea nurturers. The talent at these agencies will be capable of having smarter conversations and will be much better at listening. The agency of the future will provide a much wider range of value and will be a real-time source of business intelligence, useable data and creative ideas. Siloed and traditional job descriptions will continue to fall by the wayside as we shift to a paid, owned and earned world driven by content and underpinned by rich human understanding. Mike Cooper, global CEO of Omnicom Groups PHD: Technology will lead to a number of major blurs that will shape the media landscape and have a direct and immediate impact on how media agencies are structured in the future. Among them, TV and online will merge, and media agencies will therefore merge their TV-buying and online-buying departments to create AV buying departments. Phil Cowdell, North American CEO of WPPs Mindshare: The media agency of the future will need to be both more high-tech and more high-touch. It will require a greater use of empowering technology to fuel faster, smarter decision making. It will also need to focus more keenly on human collaboration across functions, disciplines and geographies to produce connected, quicker collaborative thinking. Richard Beaven, worldwide CEO of Interpublic Group of Cos. Initiative: The media agency of the future will be restructured around four core principles: accountable for the impact we have on clients businesses; digitally infused; dynamically structured to facilitate collaboration and customization; and always playing a central role in bringing brands to get closer to content creators. Antony Young, CEO of Publicis Groupes Optimedia: There will be a more-diverse mix of media agencies, rather than a one-size-fits-all model. Agencies will need to be more strategic about where they invest and what their brand promise is. We are already seeing different specialist models emerge, and I can see this picking up. Other than having specialist resources to execute media, the common expertise every agency will need to offer is strategy and communications planning. Whether you are a digital, media, creative or social agency, clients are looking for not just how you execute, but how strategically each channel integrates and activates for the brand in a holistic fashion. Stephen Allan, global CEO of WPPs MediaCom: Media agencies will need to be able to distinguish between platforms and pipes and rapidly identify the opportunities to deliver services rather than just advertising. Agencies have to invest heavily in research, in opportunities beyond advertising and in our ability to integrate brands into must-watch, must-talk-about content. The future is going to be challenging, but its also going to be exciting. And isnt that why we all got into media?

Steve Farella, CEO of TargetCast: The media agency of the future will look like everything. The successful agency will be a leader in all of the things a marketer needs. Over time, media agencies have taken on so much more than just planning and buying. No doubt, in the future media agencies will evolve to become full-service marketing agencies and will satisfy client needs from marketing to media to advertising. Bill Tucker, CEO of Publicis Groupes MediaVest: The media agency of the future will understand the power of igniting communities by harnessing peoples collective purpose and voice with human experiences that drive brand results. It will develop digitally centric, media-agnostic talent who can architect those experiences across the full gamut of paid-, earned-and owned-media opportunities. It will also be a content producer, with the ability to create compelling content across all screens and devices. Lastly, it will establish a mindset of client service as trusted advisor, playing an increasingly central role with clients. Kelly Clark, global CEO of WPPs Maxus: There will be fewer people doing much smarter, more creative thinking to help clients build consumer relationships. Technology and data will unlock massive value gains from marketing budgets. Maria Luisa Francoli, global CEO of Havas MPG: Agencies need to operate as open platforms for different ideas and technologies, to come together to crystallize in facilitating brand communications with different communities of consumers and getting consumers to sign in for the brand by deeply connecting with their passions. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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September 27, 2010 MEET THE GOOGLE 5, THE TEAM BEHIND PARISIAN LOVE SUPER BOWL SPOT; Search giant finds fresh, tech-forward talent in ad and design students recruited to work with its Creative Lab BYLINE: TERESSA IEZZI; TIEZZI@CREATIVITY-ONLINE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 1669 words

Like many successful brands born of the digital age, Google hasnt been known for advertising, and certainly not TV advertising. So its appearance in this years Super Bowl was something of a surprise. This is, youll recall, the company whose founders vowed that it would be a cold day in hell before theyd do a TV commercial and whose chief executive called advertising the last bastion of unaccountable spending in corporate America. What Jesus-like figure at which of Googles ad agencies had converted the company to a big-ticket TV ad advertiser? Had Google started to work with McGarryBowen? No, the Super Bowl spot, Parisian Love, was created in-house by the Google 5, a handful of students recruited from ad and design schools. The 5 program is an experiment launched last year by the Google Creative Lab and its executive creative director, Robert Wong. The company sent a call out to 12 schools searching for interesting talent who would work inside the Creative Lab for a year and then be sent out unto the industry. So, with the Google 5, the company gets new creative blood and the industry gets young talent that is schooled in Google, and, by extension, the post-digital/new advertising way-tech-forward, open-source, collaborative, and smart. Mr. Wong says the 5 initiative was motivated by two things: getting fresh, awesome talent in the Creative Lab, and fueling the ecosystem of the industry. It feels like every agency I talk to wants more digital expertise, said Mr. Wong. The thinking was that, Hey we have great talent that can come in and play with all the tools here and then agencies will get people that feel confident about all the tools at their disposal. And of course it works for us because that way they know our tools and we can participate in the whole ecosystem. Mr. Wong and the Lab team received around 400 applications for the five spots in the program. The original plan was to recruit a designer, an art director, a writer, a filmmaker and a programmer, but after vetting the candidates in a process Mr. Wong likens to casting a reality show, the team selected two writers, Tristan Smith and J. Smith; two designers, Anthony Cafaro and Jonathan Jarvis; and a programmer, David Chang. The team stood out for being talented and multidextrous and, in some cases, for their self-initiated creations: Mr. Jarvis wrote and directed an animated web film called The Crisis of Credit Visualized that explained the Wall Street meltdown in a simple, graphically compelling way and

thats been viewed over a million times online; Mr. Smith, while nominally a writer, impressed with a series of 3-D photographs he created as a side project. But the whole team demonstrated the key characteristic of, er, Googliness, which Mr. Wong describes as an amalgam of ambition, humility, altruism, entrepreneurialism and sense of scale-big thinkers who feel like they can really impact a lot of people. In June 2009, the 5 arrived at Google and were immersed immediately in every project that the Lab had cooking and in the aggressively open, collaborative Google working style. It wasnt like, OK, heres your little project and well work on the important things, said Mr. Jarvis. They were like, We need minds on this problem, you guys come and work on it. So we were working on the same projects as the creative leads and working right alongside them; it was up to us to sink or swim, and to contribute as much as we could. Within the group and in the larger Lab environment, theres very little screen privacy, Mr. Cafaro said. There was always someone over your shoulder saying, Ooh, what if we tried this? Fresh out of school, the 5 noted that this kind of collaborative environment was a significant change from their experiences to date. I think ad school trained you to be very competitive; theres this kind of killer instinct they try and create in you, said Tristan Smith. Youre always pitching your work against teams. I sort of had to reprogram myself here. The 5 ended up working on a wide range of projects, from launching the Nexus phone-contributing to all facets of the product including packaging, pre-roll ads on Hulu and the boot-up animation on the phone-to the Google Christmas card (everything here scales! said Tristan Smith). And, of course, search. What eventually became Parisian Love and a Super Bowl hit started out as a key Google brief, to remind people what they love about Google search, but also to showcase some engine particulars they might not know about. There were all these features that the engineers showed me that I think no one really knew about, like being able to type your flight number right into the search bar without going to an airlines site, said Mr. Wong. So it was about showing people how they could search in other ways and how empowering that could be. Mr. Wong said several different ideas were floated until something caught-the idea that it wasnt just one search and one answer, but a lifetime of searches. The 5 team ran with the idea of a search as representative of a moment in a life, inspired by Mr. Wongs maxim that the best results dont show up in a search engine, they show up in your life. They worked to keep the idea pared down to keep the resulting spot like theater of the mind, and presented it to the search-marketing team. Mr. Wong said, Everyone loved it and wanted to share it. The spot appeared online in late 2009. It was an engineer who originally suggested putting the ad on the Super Bowl. For Google, its a crazy idea, Mr. Wong said. At the end of the day, the founders loved the spot and they were excited by the idea of more people getting to see it. It was a one off, it was random. But it was surprising and thats what made it so cool. The tenure of the original 5 came to an end this June, at which time the Lab ended up hiring Tristan Smith. Messrs. Cafaro and Jarvis. J. Smith got a job at Wieden & Kennedy, Portland and Mr. Chang

is a free-agent programmer who recently created the much-discussed Google Doodle that augured the September launch of Google Instant. He is currently working on projects for Barnes & Noble. Up next: another group of talented and nice polymaths that includes Grant Gold, a designer out of School of Visual Arts; Chris Trumbull and Natalie Hammel, writers from VCU; George Michael Brower, a technologist from UCLA Design Media Arts; and Chris Lauritzen, a designer/wild card from Art Center College of Designs Media Design program. Mr. Wong says the fresh 5 have been thrown into a range of projects covering search, Google TV, Chrome and other undisclosed ventures. The Lab is very flat and open, said Mr. Lauritzen, which gives it a kind of chaos that can feel a little overwhelming at times. Its also what makes it such a cool place to be, especially for someone learning how the creative industry works. There is a lot of amazing stuff going on, and its all accessible. Already, Mr. Brower has contributed to one of the creative highlights of the year, interactive video The Wilderness Downtown, a collaboration between director Chris Milk and Googles Aaron Koblin, The Lab, B-Reel, Radical Media and designer/developer Mr. Doob. The Arcade Fire coup and the Super Bowl spot are part of a growing body of work out of the Lab created in collaboration with an array of partners, agency and otherwise. The Lab built on the success of Parisian Love with more Search Stories, working with Pixar to create a Toy Story 3-themed spot and launching a web tool allowing the public to create their own search story. Much of the Labs recent work has centered on the Chrome browser. In May, the group worked with BBH, New York, on Speed Tests, which pitted the browser against the likes of sound waves and a potato-gun-fired potato in a series of real-time, in-camera demonstrations. Its an admirable track record for a creative entity just 3 years old. Former Ogilvy co-President Andy Berndt was recruited in September 2007 to build the new unit; Mr. Wong, an ex-Arnold exec creative director and VP-creative at Starbucks, joined in 2008. But this is Google, after all, so when Mr. Wong tells you the ultimate goal for the Lab is to win the Nobel Peace Prize, both of you can keep a straight face. The Lab is now a 50-person unit, working closely with Google marketing and with a growing roster of agencies including BBH, Cutwater and Johannes Leonardo among others. Mr. Wong offers a long and a short version of the Labs mandate. The Google Creative Lab is a small team that strives to rethink marketing across every kind of media, currently existing or notwith Google as its sole client. Our mission is to remind the world what it is that they love about Google. Our job is to manage and steward the brand, find new ways to communicate the companys innovations, intentions and ideals, and do work of which we can all be proud. We want people ambitious and crazy enough to think we can actually change the world. The short version: Do epic shit.

The part about reminding people why they love Google, though, can be considered one of todays more interesting brand challenges: to take a company that was built on and whose name represents one thing-search-and craft a brand persona as the company expands in size and scope. And occasionally scares people. Its human nature to root for the underdog, said Mr. Wong. When you become successful, its about, how do you exceed peoples expectations? The Lab, said Mr. Wong, wants to take the processes and philosophies that made Googles engineers successful-intense focus on the consumer and user experience, flat operating structure, focus on prototyping and on an iterative process, scale and tech innovation-and apply them to the marketing process. If Mr. Wong could push further, industry-wide, he said it would be toward more listening, less talking; more feeling, less thinking, more doing, less promising, more inventing, less polishing. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 What do we want? Media! When do we want it? Now!; Americans are watching more TV, texting like crazy and surfing up a storm-and thats only the half of it BYLINE: BETH SNYDER BULIK; BBULIK@ADADE.COM SECTION: Pg. 14 Vol. 81 LENGTH: 1562 words

Americans have a voracious appetite for media, and there are few signs that were nearing satiation.

In the past year and a half, weve added two more hours per week to our at-home TV diet (via Deloitte), sent and received half a trillion more text messages (CTIA) and spent 1.3 more hours per week online (Forrester Research). Thanks in part to the slow economy and nearly ubiquitous broadband, widespread Wi-Fi access, the rise of multitasking and a proliferation of new devices, technology and content, the media consumption lifestyle of anytime and anywhere has changed from an early-adopter novelty to common American behavior. Were finding a way to do more of it, watch more of it and take more of it with us, said Patricia McDonough, Nielsen Co. senior VP-analysis. American households spent an average of $1,380 on consumer electronics, up $151 from 2009, according to the Consumer Electronics Association. Overall, consumer electronics are expected to ship $175 million in goods this year, and $182 billion in 2011. Wireless revenue adds another $153 billion to the annual tally, and the video game industry is $20 billion, with roughly half of that coming from software sales. Thats only whats spent on the platforms we use to consume media. Billions more are spent on movies, TV shows, videos, music, audio broadcasts, news, features and other online information. And contrary to stereotype, its not just millennials, often called digital natives, who are driving all this consumption. Ed Moran, director of insights and innovation at Deloitte, studies millennials, Gen Xers, and baby boomers as different categories of consumers, but said, We break things up that way to see if they are that different, and in some cases they really are, like texting. But in many cases, were surprised at how homogenous media use is across the generations. To see just what that media use is, we looked at a wide swath of research and divided it into the following consumption categories: TV Some 116 million American households now have at least one TV (up 1% over last year), but a whopping 55% of those households have three or more. As Nielsens Ms. McDonough put it, There are more TVs in this country than there are people. And theyre getting a lot of use. Americans on average now spend 35 hours and 34 minutes per week watching TV the traditional way-on a TV set at home or work; another two hours watching timeshifted TV, such as via DVR; another 20 minutes watching videos on the internet; and four minutes watching videos on a mobile phone, according to Nielsen research. We watch more ad-supported cable than commercial broadcast TV compared to four years ago: 19% vs. 17%, with the percentages reversed in 2005-2006, but about the same amount of public broadcast (0.7%) and premium cable (1.4%). Nielsen also found that HDTV adoption has risen quickly-54% of TVs were HD capable in July vs. just 10% three years ago. HD owners watch 3% more prime-time programming than standard TV people, and their top five shows during May sweeps this year were The Office, 24, Parks and Recreation, 30 Rock and Modern Family, over-indexing by 26 to 31 points when compared with the total U.S. viewing audience.

Deloittes annual State of the Media Democracy survey found that 26% of people just watch TV, down from 34% the previous year. They are multitasking TV time by social networking (21%); playing video games (16%); purchasing products online (15%); participating by phone or internet with whats happening on the TV (7%); and tweeting (4%). INTERNET On an average day, 78% of Americans with internet access go online, according to a Pew Internet & American Life Project survey in May. What do they do? Sixty-two percent send or receive email; 49% use a search engine to find information, 43% to get news; and 38% go online just for fun or to pass the time. Another 38% are social networkers, while 34% check the weather, 26% do banking and 23% watch videos. At the low end of activities? Just 1% of the online population on an average day donates to a charity, visits an adult website, researches family genealogy, visits a virtual world or sells something. NEWSPAPER AND MAGAZINES When asked, Did you read a newspaper yesterday, only 31% of Americans said yes, the lowest percentage in two decades of polling by the Pew Research Center for the People & the Press in its biannual survey of news consumption. When asked if they read anything on a newspaper website yesterday (the poll was taken in June), the total number rises, just a bit, to 37%. The readers also have more grey than the pages. The largest group of traditional newspaper readers is 65 and older (62%), followed by 44% ages 50 to 64, and 39% ages 40 to 49. Just 20% of 18-to-24year-olds read a traditional newspaper, and in fact, 31% said they got no news at all yesterday. Magazines have fared better in the digital age, with surveys consistently reporting that the majority of Americans prefer to read paper magazines vs. digital versions. The CMO Council said in May that 67% prefer a magazine to an e-reader, and 87% said they would continue to favor print subscriptions. But could the rise of the flashier and richer-content capable iPads and other tablets eventually sabotage that loyalty? BOOKS, E-READERS, AND IPADS About 10% of U.S. consumers have bought an e-book, according to last weeks update of the annual Deloitte media survey. And its making them read and buy more books. Fifty-six percent of e-book buyers say they are reading more digitally than they did on paper, and 61% say they are buying more e-books than they did print ones. (The people reading include those using specialized e-readers as well as iPads, smartphones and other devices.) Last week, in its annual State of the Consumers and Technology Benchmark, Forrester Research reported 3.7 million e-readers sold last year, but it predicted 10.3 million will be sold this year, 15.5 million next year and almost 30 million by 2015. Forrester is also projecting quick iPad adoption. In a June survey, it found that 10 million Americans either already own (2.5 million) or intend to purchase (7.4 million) an iPad. (Apple said in June it

had shipped more than 3 million iPads, a global tally.) MOBILE PHONES At the end of 2009, there were 286 million wireless subscriber connections in the U.S., an increase of 38% from 208 million at the end of 2005, according to wireless association CTIA. That means there are almost as many subscribers as there are people living in the U.S. The CDC said 89% of households had a wireless phone at the end of 2009, with 25% having only a wireless connection. People are also using wireless phones in ways other than making calls. Some 72% of consumers now text, up from 65% last year, according to Deloittes research. CTIA says 153 billion texts are sent every month, although teens beat adults in sheer volume. Pew Internet found in a September report that teens send and receive an average of 50 texts daily, with adults averaging just 10. Other cellphone uses: 42% access the internet (up from 36% last year); 30% do mobile search; 27% download apps; 26% use it for GPS; and 15% are buying products on their phones, according to Deloitte. As one might guess, smartphones in particular are seeing strong growth. Smartphones now account for 25% of the U.S. mobile market, according to August data from Nielsen, which forecasts that smartphones will take a majority market share from feature phones by the end of 2011. Smartphones are also important to consumers. Almost half (47%) say their smartphone is one of their top three most valuable media and entertainment products, according to Deloitte. SOCIAL MEDIA You might think this category is all about Facebook and Twitter. But thats only a fraction of the story. Social-media networking site LinkedIn now boasts 75 million members and has grown-some say due to the recession and renewed job hunting-from 50 million last October and 25 million in July 2008. Twitter, by comparison, has about 100 million members and Facebook about 500 million. Social media is also not just for kids. Pew Internet reported that, from April 2009 to May 2010, while social media use by 18-to-29-year-olds grew 13%, from 76% to 86%, boomers were catching on too. Social-media use jumped by 88% for 50-to 64-year-olds, from 25% to 47%, and by 100% for those 65 and older, from 13% to 26%. Overall, according to Forresters benchmark report last week, 40% of the U.S. population maintains a social-networking profile, up from just 17% in 2008. APPS Conventional wisdom says the much-hyped apps market is driving the adoption of cellphones. But real-life consumers say thats not the case. Deloitte analyst Mr. Moran said only 65% of people who own smartphones have ever downloaded an app. Almost 60% of owners or those who intend to buy say it is price and functionality-such as a camera or specific keyboard-that influence their smartphone purchase most. Only 18% said apps were a factor.

In a September Pew Internet study, The Rise of the Apps Culture, researchers found the mostprolific app users to be younger, more educated and more affluent than other cellphone users. And age is the best determiner of app use: 79% of 18-to-29-year-olds who have apps use them, while 67% of 30-to-49-year-olds and 50% of the 50-and older set use them. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; One big loss gave leader the lessons to win billions in new business and the key to understanding what clients need BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM SECTION: Pg. 36 Vol. 81 LENGTH: 478 words

DAVEADELMAN CMO MINDSHARE The early part of 2009 wasnt one of Mindshares best runs. But in the words of Dave Adelman, the agencys chief marketing officer, You can learn a lot from losing. In losing one of the biggest media reviews that year, Home Depot, the WPP-owned shop learned a lesson that would help it 12 months later land two high-profile accounts-Radio Shack and CVS-and sustain a nearly yearlong winning streak. That lesson? Never underestimate the urgency of retail and how important newspapers are for a

retailer, he said. In this age of digital and social and sparkly shiny things, you can lose sight of whats important to your client, and that can cost you a pitch. Its one thing to demonstrate that you have a vision for the future, but you need to show these people how you are going to drive traffic and beat their comps every week while delivering solutions at a scale level so people cross the threshold into the store. Since the summer of 2009 the agency-with Mr. Adelman, a three-year veteran of Mindshare, managing all of the pitch teams-has retained and won more than $2.4 billion in business. The agency retained the massive Unilever U.S. media account while picking up the Canadian portion of the business. In addition to Radio Shack and CVS, the shop has also snagged 21st Century Insurance, Abbott Laboratories, Boehringer, Sun Products and Skyy Spirits accounts. One of the big reasons we are winning now is because of all the losing we did last year, Mr. Adelman said. If you are going to go through the pain and heartbreak of losing, you better learn something from it. Mr. Adelman said winning new business is also about decoding the brief and understanding why the business is in review. I used to try and do some fancy things, but what were doing now is asking: What are the clients asking for? he said. Understanding not just what they want, but what they need, is the hard part. The only way I know how to do that is by putting a lot of smart people into a room, digging deep into the research and working hard at airing ideas, challenging them and vetting them. Then we integrate them into a coherent plan and strategy. Phil Cowdell, North American CEO of Mindshare, who shares responsibility for the agencys successful run, said new-business people such as Mr. Adelman need to inspire both prospective clients and the team around them. Davids energy and enthusiasm is positively infectious, Mr. Cowdell said. He has helped us tell our story in a way thats being far better received than it had been previously. That knack for storytelling extends to Mindshare as well. We have gotten much better at telling our story and really making it relevant to clients and much better at the core product we bring in to the room, Mr. Adelman said, adding: We have leaned how to use the resources of the larger company. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Resting concerns from skeptics, longtime purchasing honcho settles into global brand-building role nicely BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 42 Vol. 81 LENGTH: 521 words

STEWART ATKINSON VP-GLOBAL BRAND-BUILDING PURCHASES PROCTER & GAMBLE CO. Procter & Gamble Co. raised a few eyebrows when it put Stewart Atkinson, a career purchasing and general-management executive, in charge of a key part of its global media organization-and as many would see it the most important part: buying media for the worlds biggest media buyer. A little more than a year later, Mr. Atkinson, 53, is settling into the job. And fears of a purchasing guy slicing and dicing his way to glory have abated, largely because it didnt happen. P&G hiked global media spending 13% during Mr. Atkinsons first full year as VP-global brand-building purchases, to $8.6 billion, essentially restoring the spending cuts made the prior year in the depths of the Great Recession. At the same time, P&G raised its reported consumer media impressions 20%, delivering the sort of bang for the buck purchasing folks are supposed to deliver. Were getting more and more efficient and effective with the spending, Mr. Atkinson said. We feel very bullish about the work weve done and the opportunities we have ahead. At the same time, he acknowledges the media and marketing-services buying task hes taken on is even more complex than I thought it was going in. Yes, he did once head up buying industrial chemicals for P&Gs laundry business. And, yes, he does know theres a difference in buying media. That hasnt stopped him from shaking up P&Gs media organization some, putting some media managers in new roles, shifting some managers from developing markets to developed ones and vice versa. He acknowledges theres a learning curve for managers as a result, but said: Were shifting from a short-term view in how we manage this area to something much longer term, connected to the vision and purpose of the company stretching out to 2015 and even longer. That is, if you havent heard this

one before, touching and improving more lives more often in more places. Mr. Atkinson said hes also focused on improving relationships with outside partners. By putting the right people in the right places, he said, and then connecting them, were getting better ideas. Stew is on a constant quest to innovate, said Laura Desmond, CEO of Starcom MediaVest Group, P&Gs largest media shop globally. He embraces change fearlessly because he sees it as an opportunity to challenge the status quo and reinvent. Among those efforts Mr. Atkinson has worked on, which is improving P&Gs global clout, are global media initiatives, such as the multi-brand Proud Sponsor of Moms program launched during the Vancouver Winter Olympics, which has in turn led to efforts around Mothers Day in the U.S. and been expanded recently to China. P&G also has expanded the scope of its increasingly common sports-marketing deals with a global sponsorship of the 2012 Summer Games in London. Such multi-brand and global efforts are very powerful and provide scale across all the brands that in the past we havent taken care of very effectively, Mr. Atkinson said. Now were really stepping up that effort and trying to put some efficiency behind it. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Armed with experience, vision and patience, veteran daytime exec ushers in a new era for an old network BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 42 Vol. 81

LENGTH: 553 words

BARBARA BLOOM SENIOR VP-DAYTIME CBS ENTERTAINMENT As head of daytime programming at CBS, Barbara Bloom knows about soap operas. She even served as co-head writer for a time on the ABC daytime serial Port Charles. So Ms. Bloom has come to wrangle with the sad truth that the venerable TV genre is facing challenges. How does a network keep viewers tuning in to daytime programs when more families have two working parents, when women have found increasing power in the workplace, and as technology gives rise to a myriad of new entertainment options from reruns of favorite dramas on cable to a Twitter feed on a smartphone screen? At CBS, Ms. Bloom has gradually been building a portfolio of shows that includes soaps, but also makes way for other formats that might have better success in capturing the big ratings the CBS Corp. flagship network demands of its offerings. CBS has modernized the classic game show The Price Is Right, with new host Drew Carey; revived Lets Make a Deal; and, for the fall, given the go-ahead to a new mom-focused talk show, The Talk, that includes hosts such as Sharon Osbourne, Leah Remini, Sara Gilbert and Holly Robinson Peete. It is a time of great change and great opportunity and more viewing choices, said Ms. Bloom, 49. Staying at the forefront of making sure youre the choice that is taken is always a battle. Building something new has necessitated tearing down something old. In the process of crafting the current lineup, CBS has over the past two seasons canceled two veteran soaps, Guiding Light and As the World Turns. Making matters more complicated, the two shows have been produced for decades by a big CBS advertiser, Procter & Gamble. While the decision to cancel the soaps was made at a more senior level than Ms. Blooms, she is the one who has to navigate through its aftermath. Ive always thought the mandate is to make this the most competitive and engaging daypart as possible, and for a long time, we worked very closely with Procter & Gamble to try to keep the shows able to fulfill that mandate, and then it became clear that wasnt happening, she said. Now, her focus for a time will likely be on The Talk. Ms. Bloom is taking a long-term view of success. Talk shows take time. They have to grow an audience and settle into a rhythm. Ms. Bloom has experience on both the business and creative sides of daytime television. She joined ABCs daytime staff in January 1992 as director of advertising, after serving as the creative account director for the ABC Daytime account at Grey Entertainment. In 1993, she became ABCs program executive on One Life to Live. By 1996, she was running ABCs West Coast daytime programming department, developing Port Charles and supervising creative aspects of the long-running General Hospital. She joined CBS in 2003.

Ms. Bloom said she tries to keep her audience in mind, and then works to hire people and manage operations so that those viewers are attracted and engaged. I always try to be really clear about what the universe is that Im operating in, she said. Am I empowering the people who are working on those shows? Thats the way I work. And thats how she pushes forward during times that test TV executives. We really are trying to do the best by both our audience and the company. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Digital expert behind first Twitter ad deal values the importance of not getting caught up with technology BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 36 Vol. 81 LENGTH: 457 words

CARRIEFROLICH MANAGING DIRECTOR-DIGITAL, NORTH AMERICA MEC Heres the irony of being Carrie Frolich: Her clients, such as AT&T, Macys and Citibank, depend on her to stay on the bleeding edge of technology and digital media. She did the first real commercial deal with Twitter (Title Tweets with AT&T and CBS last year), and four of her clients were among the first to try out Apples iAds. But all of this makes her too busy to actually use the tools much herself. Shes a sporadic presence on

Twitter, but a recent post sums it up pretty well: I am tracking behind on my plans for world domination. Gotta step up my game. Three years ago, Ms. Frolich was a digital media director, splitting time between MEC and sibling media shop Mindshare while getting an education in Group M, the holding company for WPPs four media shops. Thats when she was part of the team that brought in the AT&T account, consolidating the giant marketer at one media agency for the first time. They are good about bringing us opportunities first, said Steve Governale, executive director of digital at AT&T. I think she has very good instincts in terms of seeing tech or trends or new tools and identifying those that have an opportunity to scale vs. those that are a flash in the pan. To handle that account, MEC doubled in size, and Ms. Frolich ended up overseeing all of it. In January, she was promoted to managing director of digital for North America, overseeing display planning and buying, paid and organic search and consulting and gaming, as well as being tasked with creating a five-year plan for the agency. What are we seeing as far as our clients needs over the next five years? How do we build up offerings to help us get there? What are the things we need to advise them on? she said. Ms. Frolich started her career in Miami working for a lobbyist. She became a digital expert because, well, she had an AOL account and knew how to use it. When she came to New York, she started at an upstart digital agency, Organic, which at the time had 19 employees in its office. Everybody there was, like, 25, she said. There was no skepticism of the young. Her career progressed quickly. In five years, she was a media director. When she joined WPP, things changed. At a big agency, they have all these longstanding, trusting relationships, she said. All of a sudden my hit rate on pitching an idea went from 10% to 70% overnight. But what she learned then is that the key is to stay ahead of the technology, but to also know that none of it really matters. Over time, its so easy to get caught up in the details of the specific opportunities, she said. The most important thing to be expert in is the clients businesses and their customers. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Bay Area young gun introduces savvy way to corner the social-video-campaign market and slays the competition BYLINE: IRINA SLUTSKY; ISLUTSKY@ADAGE.COM SECTION: Pg. 42 Vol. 81 LENGTH: 417 words

DAN GREENBERG CEO SHARETHROUGH Dan Greenberg, the 25-year-old CEO of video-distribution company Sharethrough and a Stanford grad-school dropout, is smarter than many in the online video space. Hes figured out how to take the seemingly unquantifiable happy accident of viral video and turn it into an algorithm. That means he can make it happen again and again and again. Granted, the Bay Area native was a teaching assistant for the first Facebook Class at the Stanford Persuasive Technology Lab, so hes also eons ahead of most people when it comes to melding technology, math and science with virality and video. Top investors such as Floodgate and Ron Conway put their money where Mr. Greenbergs numbers are, and since 2007, Sharethrough has been headquartered in downtown San Francisco. The most successful viral-video campaign in recent history is the Old Spice The Man Your Man Could Smell Like YouTube commercial, having just passed 20 million views-thats just on the official Old Spice channel and doesnt include reposts on other channels and video sites. Now that the commercial is a proven win, the demand from brand managers for this kind of campaign will be astronomical. But how can anyone be sure that their commercial will be seen as many times as the one from Old Spice? Historically, you create a viral video or a viral brand campaign by crossing your fingers and hoping for the best, said Mr. Greenberg. And thats not scalable. By introducing technology to traditional online paid media, Sharethrough is building a repeatable advertising product for branded video content that doesnt rely on happy accidents. What Mr. Greenberg means is that, while happy accidents are great, brand managers cant rely on

them to make their clients happy. We make it so that the shared video experience for a successful and viral campaign is predictable and guaranteed, he said. Sharethrough has run more than 200 social-video campaigns for brands such as General Motors, Victorias Secret, Xbox, Nestl and Sony Pictures. Mr. Greenberg is proud to have his companys videos often featured on Ad Ages weekly Viral Video Chart, which celebrates the most popular and successful brand video campaigns. Essentially, Sharethrough is a platform that automates video syndication across a network of partners. The future of advertising is social, and sharing is the key to success, Mr. Greenberg said. We are making this a reality by optimizing for share-through rates, not just clickthrough. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Former P&G innovator draws on brand-management past to create sense of culture at health-care marketer BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 36 Vol. 81 LENGTH: 525 words

LAKISH HATALKAR HEAD OF INTEGRATED MARKETING COMMUNICATIONS, PACKAGE DESIGN AND INNOVATION NOVARTIS CONSUMER HEALTHCARE

After 13 years at Procter & Gamble Co., much of it spent developing media capabilities for the company on three continents, Lakish Hatalkar was looking for something a bit more entrepreneurial and a chance to help build a newer marketing culture last year. Novartis Consumer Healthcare may not exactly be a new player. But the marketer of brands such as Excedrin, Prevacid, Theraflu, Triaminic, Ciba contact lenses and Interceptor heartworm medicine for pets hasnt exactly had a culture of its own, either. Made up of employees who started their careers at P&G, Unilever, Reckitt Benckiser, Johnson & Johnson and others, the U.S. consumer unit of the $47 billion Swiss drug company has been something of a polyglot culture. Its up to Mr. Hatalkar to create a Novartis way of communications planning from a company that has had a lot of other companies ways, depending on the particular manager in charge, up to now. In doing so, hell draw heavily on experience he had working with former P&G Global Marketing Officer Jim Stengel and former VP-Global Media Bernhard Glock in developing the brand-building framework of that company last decade. To be sure, Novartis is already posing a bigger threat to some of those big competitors from which its drawn talent, having taken share from P&Gs Prilosec with its launch of Prevacid OTC heartburn medicine last year with heavy in-store marketing support, and working to help Triaminic hike spending and capture share in childrens cold products shed by J&J due to serial recalls. As head of integrated marketing communications, package design and innovation for Novartis consumer brands, Mr. Hatalkar is taking on functions not normally rolled into a media job. The No. 1 media vehicle for any packaged-goods brand, Mr. Hatalkar said, is the package. Such an encompassing role is a natural one for Mr. Hatalkar, whos been a jack of all trades. The Indian native went through U.S. colleges on tennis scholarships but realized he wouldnt be able to turn pro. He opted for chemical engineering instead, then joined P&G in information technology in 1997 before switching to brand management a year later. He liked the marketing aspect of the job the best, as opposed to general-management functions. But he kept moving between corporate-marketing, media and brand-management roles, so he could keep applying the theory and training he developed at P&G. Mr. Hatalkar was at the forefront of media innovation at P&G during my years as global marketing officer, Mr. Stengel said. He personally helped lead P&G from a prosaic approach to media to an enlightened approach. To that end, Mr. Hatalkar served a stint working P&Gs lead global media shop Starcom MediaVest Group. At Novartis, Lakish made an instant impact the moment he arrived at Novartis, said Lee Doyle, North America CEO of Novartis media shop MEC. He has completely transformed the way we are approaching communications plans development. Weve reshaped the team to better integrate the online and offline experts.

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Advertising Age September 27, 2010 MEDIA MAVENS; Entertainment-marketing expert introduced a new way to measure media, transforming planning and buying BYLINE: ANDREW HAMPP; ahampp@adage.com SECTION: Pg. 44 Vol. 81 LENGTH: 439 words

GREG KAHN EXEC VP-BUSINESS DEVELOPMENT DIRECTOR OPTIMEDIA U.S. Greg Kahn wants to change the way you buy and measure media. Since joining Publicis Groupes Optimedia in 2007 to run its strategic insights practice, Mr. Kahn, 37, has introduced a first-of-its-kind metrics tool, Content Power Ratings, to the media communitys vernacular. The tool was the first media currency to measure and aggregate total views and engagement for TV shows across on-air, online and mobile platforms, giving extra weight to shows such as Gossip Girl and Mad Men that might not have blockbuster linear ratings but receive tons of online buzz, streams and iTunes downloads. The Content Power Ratings tool has affected not only Optimedias upfront negotiations with broadcasters but also the way networks such as the CW measure and sell their programming. And it is also viewed as a model for Nielsens forthcoming single-source online and TV ratings, tentatively

scheduled to roll out to clients later this fall. In a world thats very innovative and changing rapidly, its important that we stay on top of where consumption and behaviors are going, Mr. Kahn said. That innovative approach to media measurement has also affected the way Optimedia approaches its planning and buying practices, focusing on analytics-driven and results-based strategies for clients. The renewed focus has gained new business in recent months-in the past year alone, Optimedia picked up clients such as BBC Worldwide ($50 million in worldwide billings), Orbitzs traditional media ($36 million in U.S. billings) and homeopathic medicine company Boiron ($15 million in U.S. billings), all under the guidance of Mr. Kahn. That led to Mr. Kahns promotion to exec VP-business development and director of Optimedias fledgling Los Angeles office in spring 2010. Now, the New York-based Mr. Kahn is making almost weekly trips to the West Coast to manage and build Optimedias relationships in Hollywood and beyond, with the occasional aid of Publicis siblings such as Zenith, Moxie Interactive and VivaKi. But sustaining that growth will be challenging and very strategic. Weve taken a very conservative approach to expanding in Los Angeles. We wanted to make sure we had the client base to expand with us as we grow, Mr. Kahn said. And with a resume that includes stints at filmmaking research consultancy FilmBuzz, Showtime Networks, YouthStream Media and PriceWaterHouseCoopers Kwasha Lipton Group, Mr. Kahn is hoping to build his entertainment-marketing expertise even further in his new bicoastal role. Were actively looking to expand our film and music clients, he said. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010

MEDIA MAVENS; Maven with little media background rebuilt and expanded media team, leading to Entertainment Weekly, CBS deals BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 38 Vol. 81 LENGTH: 444 words

SETH KAUFMAN DIRECTOR-MEDIA STRATEGY AND INVESTMENT PEPSICO BEVERAGES AMERICAS Its ironic that Seth Kaufman is a media maven, because hes not necessarily a media guy by training. The director-media strategy and investment for PepsiCo Beverages Americas is a marketer, a general manager, a specialist in shopper insights, even an adjunct professor. But when it comes to media, his direct experience was somewhat limited, including a stint in media sales for a company that represented radio stations. That, said Dave Burwick, a former PepsiCo executive who is now president-North America at Weight Watchers, is what made Mr. Kaufman perfect for the job. I was looking for someone with a completely new perspective in media who wasnt closely connected to anything wed done before, someone who was willing to think differently and reinvent how we did media, Mr. Burwick said. He had to step in and go toe to toe with senior management and agencies. He had to really carry the flag up the hill for our ideas. Mr. Kaufman has been doing just that since agreeing to take on the role in January 2009. To start, he rebuilt and expanded PepsiCos media team. Under the previous regime, the team was organized into national media, local media and digital media. It was a tactical, check-the-box kind of group, Mr. Kaufman said. Now, the team, which has more than doubled in size, is made up of a mix of marketers who get media and media specialists who are strategic, he said. The team is also aligned by brand, with members of the media team expected to sit in on brand staff meetings. Those changes have resulted in a group that has been behind some of the most-interesting media deals of the past two years. There was the Pepsi Max video-in-print ad that ran in Entertainment Weekly and promoted CBSs Monday night lineup, and, more recently, the development and execution of the custom media efforts for the Pepsi Refresh Project. But Mr. Kaufman isnt content to just think about groundbreaking media deals. He wants to cultivate new media, communications and technology startups through PepsiCo10. The incubator program, which he helped develop and launch earlier this year, quickly attracted about 400 submissions from startup companies. Earlier this month, PepsiCo announced 10 finalists that will be working with the marketer on pilot programs with various brands. We thought, Why not get involved with these companies before they scale? Mr. Kaufman said. We felt like we could enable them to succeed but also be on the forefront of engaging our consumers.

And we could peek under the tent of the hottest stuff out there. Its a competitive advantage. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Veteran agency leader credits string of successes to perfect combination of talent, vision, product, proprietary tools BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM SECTION: Pg. 40 Vol. 81 LENGTH: 507 words

BILL KOENIGSBERG CEO HORIZON MEDIA Bill Koenigsberg is an extreme rarity in the media-agency business. Hes an agency CEO who has more than five years of experience running the same shop. Actually, he has spent more than 20 years captaining Horizon Media, the most successful independent agencies in the industry, and one that has repeatedly bested much bigger competitors in new-business pitches this past year. Within the last year the agency has won close to $800 million in new business, including Crown Imports, Weight Watchers, Dish Network, T.G.I Fridays and Lifetime, and has jacked up its annual billings to $6.2 billion. Im more excited about the business than I have ever been, Mr. Koenigsberg said. I see more opportunities to lead the industry than ever before.

Mr. Koenigsberg attributes the run of success to a coming together of the right talent, vision, product and proprietary tools all at the right time. Each one standing alone is not the holy grail, Mr. Koenigsberg said. But when you can put them all together in an understandable and actionable and measurable way, you have a really good story, and thats been a cornerstone of success. There have been other years where we thought we put together great presentations in new-business opportunities, and I wish I could say all of a sudden that we found the magic bullet and wont lose again, but thats not the case; we will. Its not all about new business, its also about holding on to existing business. Mr. Koenigsberg, who was named chairman of the 4As Media Policy Committee in May, has had Geico as a client for nearly 20 years, another rarity in the media-agency world. Ted Ward, chief marketing officer at Geico, said the relationship has lasted so long due to the interest and attention Mr. Koenigsberg and his senior staff provide him with. We assume they are good at buying media efficiently and effectively, and I think we can find that in a bunch of different places, Mr. Ward said. But what separates them is their strategic thinking and the fact that they continue to be an independent operation that doesnt approach the marketplace with large groups of clients behind them. And they treat each client independently. And theres another reason for Mr. Wards affection for Mr. Koenigsberg. Bill in particular is a unique character from the standpoint that we travel with the same sense of humor and the same impatience with stupidity, Mr. Ward said. He can be a touch impatient but that shows up with the fact that he ends up with really smart people around him who understand him. Despite the agencys success, Mr. Koenigsberg refuses to let it rest on its laurels. I suppose its nice to have the validation that you are putting forth some leadership thinking by winning and retaining business, Mr. Koenigsberg said. I hope our competitors know they are going to be in for a fight if they see us in a pitch. But never think you have arrived, because once you think you have arrived, the train is going to leave the station without you. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; As Turner grows its properties, its cheerleader is there to champion the power of cable, importance of sports BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 38 Vol. 81 LENGTH: 539 words

DAVID LEVY PRESIDENT-AD SALES, DISTRIBUTION AND SPORTS TURNER BROADCASTING SYSTEM Time Warners Turner cable unit has ramped up aggressively in recent years: buying CourtTV and turning it into a channel centered around reality-based programming; bringing Conan OBrien onboard to start a late-night series on TBS; snatching cult-favorite cop show Southland after NBC dropped it; and partnering with CBS in an effort that could make the NCAA mens basketball championships even bigger than they already are. Now its up to David Levy to make sure this all pays off. As president of Turner Broadcastings ad sales, distribution and sports, Mr. Levy has a daunting set of responsibilities. He has to make certain advertisers want to come onboard Turners new properties, even as he exhorts them to consider some aggressive pricing proposals. He has to entice cable and satellite operators to consider paying more for the expensive stuff his company launches or acquires. And he has quietly been ramping up Turners presence among sports broadcasters. TBS a few years ago picked up some of Major League Baseballs playoff games and now will be a custodian of one of TV sports annual jewels, in the form of the NCAA Final Four. Theres a lot on the docket, said Mr. Levy, 48. He believes his role gives him a unique view of the engines that drive cable-television operations: ad revenue and programming fees, sure, but also rights to potential new-media distribution. If I go over sports rights with the NCAA, I can think about what I need to do for ad sales, distribution for mobile rights, he said, citing one idea. His position is designed to give me the opportunity to think a little bit broader-picture, to make sure that we have all the rights and the content that we need. At the same time, Mr. Levy and Turner have been throwing some sharp elbows. The network has tried in recent upfronts to cadge broadcast-network pricing for some of its offerings, including the new Conan show that is slated to debut in November. Ive certainly been out there cheerleading, putting into the marketing the idea of a one-television world, said Mr. Levy. People dont put on a cable hat and say theyre watching cable television. They watch television.

If Mr. Levy displays some of the bravado of a sports-industry insider, its because he is one. In recent years, he has hammered out deals with the NBA and MLB that involve multiyear agreements to air some of those leagues top games. While he started his career at Turner in 1986 as an account director in the entertainment division, he played an important role in developing and supervising the ad-sales division for Turner Sports, later moving to run the companys international advertising-sales unit. He anticipates sports programming will only grow in importance to TV networks. Theres very, very little after-the-fact viewing or next-day viewing, he said, making sports broadcasts of paramount importance to major marketers. Social networking is a huge part of it, with the flurry of tweets and posts about games in progress making it nearly impossible for any sports fan to wait hours or days to see how a sports match turned out. All of that adds to the growth of sports. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Miracle performer travels the world finding ways to turn marketers trash into media credit in growing barter industry BYLINE: MICHAEL BUSH; MBUSH@ADAGE.COM SECTION: Pg. 35 Vol. 81 LENGTH: 580 words

BRIAN MCMAHON GLOBAL CEO ORION TRADING

In terms of travel, Brian McMahon, global CEO of Interpublic Group of Cos. media-bartering unit Orion Trading, is the marketing worlds equivalent of George Clooneys character in Up in the Air. Not only has Mr. McMahon logged nearly half a million miles already in 2010, hes also received the 5-million-mile luggage tag from Daniel Garton, exec VP of American Eagle Airlines. But aside from the traveling, Mr. McMahon and Mr. Clooneys character are complete opposites. While Ryan Bingham traveled the country spreading gloom by axing people, Mr. McMahon has been traveling the globe opening up new offices and cutting some of the wackiest, but most lucrative media deals for Interpublic clients that one could imagine. Media bartering, the art of finding a buyer willing to purchase a marketers impaired assets, such as meat or old airplanes, and then trading those assets for media credits the marketer can use to make future media buys, no longer carries the negative connotation it once did. Aided by the recession and marketers needs to extend their marketing budgets, barter has become more mainstream and a more common practice for advertisers. In 2009, during the height of the recession, Mr. McMahon expanded Orions operation by opening five international offices in Australia, Brazil, Germany, Mexico and Spain. In 2010 he set up shop in France and is in the process of opening offices in two more markets. The agency, with 13 offices in 12 countries and nearly 300 employees, also has a presence in the U.S., U.K., Denmark and Canada. Mr. McMahon said he expects barter to become an even bigger part of the marketing mix. We have done so many deals that we are top of mind and IPG clients are asking for us, he said. Eighteen months from now you will see a continued expansion in the U.S. in terms of scope of deals and amount of clients using it. But where you are going to see significant expansion is internationally. He said the agency has done more than 80 deals so far this year. Some of his recent deals include unloading store fixtures for Kohls and excess beer fonts for Anheuser-Busch InBev. And while he could not disclose the dollar amount those transactions translate to in terms of media buys, he said one deal alone could be worth several million dollars. One industry executive said Mr. McMahon once turned an end-of-life 767 aircraft for UPS into more $30 million in media credits for the marketer. The plane itself was turned into aluminum scraps. Rick Wilbins, managing director-global brand and advertising at American Airlines, has been working with Mr. McMahon for six years and said he and Orion have helped extend Americans advertising budget by several millions of dollars over that time. Brian is a problem solver, and I like working with him because Im a guy with lots of problems, Mr. Wilbins said. Mr. Wilbins said the day he realized Mr. McMahon was the consummate problem solver was when the airline dumped a ton of American Airlines-branded plastic silverware on him and asked him to get rid of it. We knew we werent going to need anymore but we didnt want it sold at retail because it had our logo on it, Mr. Wilbins said. The resulting media credits were immediately turned into broadcast commercial time, and the deal still leaves Mr. Wilbin scratching his head: The fact that they needed that much plastic silverware caused me to wonder just what sort of other miracles he performs.

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Advertising Age September 27, 2010 MEDIA MAVENS; While others lament the difficulty of keeping up with changing media, exec wishes he could speed things up BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 38 Vol. 81 LENGTH: 494 words

JOHN MOORE CHIEF MEDIA OFFICER MULLEN When we think about marketing, we still think in terms of whats the TV idea, whats the radio idea, whats the social idea, said Mr. Moore, who serves as chief media officer at Interpublic Group of Cos. Mullen. We would never admit that in public, because we know thats not how the public wants us to think or how clients want us to think. But I dont think that were at the place where were smashing them together, the blenderization of marketing. He jokes: The nice thing about our business is-unlike doctors or lawyers-we get to make up vocabulary. After working at Mullens Boston-based headquarters for a dozen years and in media roles at New England-area shops for nearly 20, Mr. Moore in September 2009 was tapped to helm Mediahub, Mullens full-service media-planning and -buying group. At the time of Mr. Moores appointment,

Mullen President-CEO Joe Grimaldi said: John is a vocal champion for progressive, digital and social media, and hes a huge catalyst for media-creative fusion. Since taking the helm of Mediahub, Mr. Moore helped Mullen reel in a media agency-of-record assignment for JetBlue in May; set up a dedicated mobile division; and launched Nexus, a proprietary media-insights tool designed to help clients figure out the right combination of media channels and what consumers want from brands in each of these channels. Hes been around the industry a long time, but he still comes to things like a fascinated newcomer, said Marty St. George, senior VP-marketing and commercial at JetBlue Airways. The guy is an absolute sponge as far as his passion for media. For us, he does such a great job and hes really stretched us as far as some ideas were considering [for a new JetBlue ad campaign] right now. Over the years, Mr. Moore has put his stamp on a range of national and international brands, including Wendys, General Motors, Whirlpool, Lending Tree, H&R Block, L.L. Bean, Monster and XM Satellite Radio, among others. The ability to integrate hyper-targeted media plans with innovative creative ideas is something that comes easily to Mr. Moore, he said, because of the early part of his career working at tiny, independent agencies where everything was handled under a single roof-there was no such thing as unbundling. I fell into this career by accident and learned very early that I just love this business, said Mr. Moore, a Philadelphia native who got his start in advertising in the mid-1980s. More than anything, the pace was so fast and so unpredictable that it serendipitously meshed with my Type A and [attention deficit disorder] personality. Added Mr. St. George: Hes just as much of a creative guy as a media guy, as far as Im concerned. Most media people are subject-matter experts with media, but when it gets to other worlds, like talking about [communications] planning, creative, they cant do that. Johns not like that; hes not just in the media silo. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; For this PR star, the willingness to take smart risks has helped her hair-care products outshine the competition BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 40 Vol. 81 LENGTH: 484 words

BRANDY RUFF DIRECTOR OF INTEGRATED MARKETING COMMUNICATION ALBERTOCULVER CO. One reason Alberto-Culver Co. keeps beating much bigger personal-care rivals and eating away at their share in hotly contested hair-care categories may come down to what Brandy Ruff, director of integrated marketing communication, calls smart risks and a hearty appetite for branded content. None of that might have been possible had it not been for a little serendipity. It was an amazing fluke, to be honest, Ms. Ruff said. Albertos Tresemm wasnt a partner in season one of Project Runway. LOral Paris was the sole beauty-care sponsor, but the deal didnt cover hair care. Spotting an opportunity, Ms. Ruff and Alberto-Culver signed on in year two as the content partner for hair care. Unlike most such deals, Ms. Ruff said, not only was Tresemm not required to buy ads, it was prevented from doing so. That didnt stop the partnership from generating considerable buzz as the Project Runway audience grew in season two, all of which came with Alberto paying only production costs, not advertising. The Runway deal, which performed beyond the companys wildest dreams, was what opened up the door for everything were doing now, Ms. Ruff said. That includes several branded-content tie-ins with Cond Nast-most recently a series of Dirty Little Secret animated graphic-novel webisodes with Elle and growing participation in New York Fashion Week. When Project Runway left Bravo for the older demographics of Lifetime, Tresemm stayed behind as a charter branded-content partner with The Fashion Show. For an old-line packagedgoods marketer-literally the inventor of the 30-second TV spot-to put so many of its chips on branded content is unusual, but then so is the evolution of Ms. Ruffs role. The career public-relations woman initially handled PR for Alberto after more than a decade on packaged-goods accounts at Weber Shandwick and Edelman, working for the latter on the Campaign for Real Beauty for Unilevers Dove. But her role has evolved fairly quickly at Alberto from corporate communications to the North

American marketing group, where she now leads a marketing-communications team dominated by PR staff like herself. The integration philosophy is that the brand must become part of the story line and not just placed in the backdrop, Ms. Ruff said. So who better than people who have been writing and are informed from a PR standpoint? Brandy has been central to elevating Alberto-Culvers capabilities in creating new media integrations and platforms, said Casey Keller, the companys U.S. president. She is the driving force behind our partnerships and media efforts. It doesnt hurt for a company like Alberto that PR by its nature is used to living on a smaller budget than advertising. Being the size we are, we cant out-shout the competition, she said. So we have to out-innovate. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; How a guy with a research background whos never bought a piece of ad space or airtime ended up on this list BYLINE: JENNIFER WHITEHEAD SECTION: Pg. 44 Vol. 81 LENGTH: 504 words

HERNAN SANCHEZ NEIRA CEO HAVAS MEDIA INTELLIGENCE Its true that Hernn Sanchez is not your typical media executive, but what hes doing-along with his team at Havas Media Intelligence and across the group as a whole-might just change the way communications are done for good. Advertising agencies publish studies all the time, but Havas Medias Sustainable Futures 09 initiative, which explores the challenges faced by business in adopting and communicating more sustainable practices, proved definitively that there is a strong business argument for sustainable practices and for communicating this to consumers. Its findings have been startling enough to make everyone from The New York Times to Newsweek sit up and take note, and no one is more surprised that Mr. Sanchez about the impact it has had. The unassuming Argentine, who is now based in Madrid, said: When the first report came out, I didnt really think anyone would care about it, but we found that sustainability was at the top of peoples minds, especially in emerging markets. Mr. Sanchez is keen to point out that Sustainable Futures is a group effort, with the involvement of Havas CEO, Fernando Rodes; Havas Medias CEO, Alfonso Rodes; and the input of Umair Haque and Sara Dios, who are the director of Havas Media Lab and director of Global Business Innovation, respectively. But a lot has happened since then-most notably, at least from a sustainability point of view, BPs Deepwater Horizon tragedy. With 11 workers killed, millions of barrels of oil gushing into the Gulf of Mexico and enough negative coverage for BP to fill the well for good, are sustainable communications still sustainable? Yes, the situation with BP will make it harder for other companies to present their sustainability message, he said. But beyond the BP crisis there is a deeper transformation taking place, which is the growth of transparency. We are going to see this trend growing and penetrating different markets. He argues that people across the globe are looking for ways to create a better world. They feel powerless to achieve this on their own and they think that governments are not doing enough to make changes. They want companies to take the lead, Mr. Sanchez said. Havas research and product division, Catalyst Network, has run workshops and training sessions to ensure that teams throughout the company are able to use the project to better serve clients. With a new phase in the project due to be revealed in October, Mr. Sanchez said the argument will be moved on, with suggestions for how brands can become meaningful to consumers and advice on the practicalities of communicating sustainability to consumers. I believe that nowadays there are two types of company, he said. There are those who put sustainability at the heart of their business model and are rethinking their product and service offerings and engaging with customers in different ways. These are the companies of the future. Then

there are the rest, who are in danger of disappearing. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Man behind The Man Your Man Could Smell Like has big plans to take on a mobile-first campaign -and make people understand his Briticisms BYLINE: JENNIFER WHITEHEAD SECTION: Pg. 35 Vol. 81 LENGTH: 428 words

IAIN TAIT GLOBAL INTERACTIVE EXECUTIVE CREATIVE DIRECTOR WIEDEN & KENNEDY When the advertising hall of fame is drawn up for 2010, one campaign is likely to stand head and shoulders above others for its use of social media: Old Spices The Man Your Man Could Smell Like. So its not hard to see why Iain Tait, global interactive executive creative director at Wieden & Kennedy, and the man credited as the brains behind Old Spices YouTube triumph, has made it into this years Media Mavens report-and only six months after he arrived in the U.S. from London. The self-described English-sounding Scottish guy has only ever worked in new media, starting out in online in 1994 before becoming one of the founders of Poke, a widely respected digital agency in

London. It was through Poke that Mr. Tait first made a name for himself as someone who used new media innovatively-and effectively-for marketing purposes. He worked on some of the agencys significant campaigns, including an award-winning online balloon race, called Balloonacy, for the British cellphone network Orange, and large-scale redesigns of websites such as the site for soccer team Manchester City. Mr. Tait is the first person to point out that the Old Spice YouTube phenomenon was built on the considerable momentum generated by the advertising campaign. I was really fortunate to walk into that project. Great client, great team, great energy-being able to join and contribute has been incredible and certainly a career highlight, Mr. Tait said. While it might be tempting to rest on his laurels and be known as the Old Spice YouTube guy, Mr. Tait has no plans to do so. He is already thinking about the next big thing to happen in new mediaalthough it is, he points out, a surprisingly not-so-new thing. I dont think anyone has properly executed a full-on big-scale mobile-first campaign. And Im not talking about iPhone apps, QR codes and augmented reality, Im talking about mainstream mobile web usage with purpose, Mr. Tait said. It has to happen soon. It needs to happen before the mobile web ceases to be any different from the non-mobile web. It feels like one of those things where were incredibly close and incredibly far away at the same time. Apart from cracking mobile web marketing, Mr. Tait hints that he might also be working on making himself better understood by Americans. Everyone is really friendly, but they understand me less than I thought. Not because Im complicated, but because I use alien words. I had no idea that a stationery cupboard was a funny thing, he joked. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Organizing around consumer behavior helped 5-year-old shop grow to hundreds of staffers and nab big-name clients BYLINE: MICHAEL LEARMONTH; mlearmonth@adage.com SECTION: Pg. 44 Vol. 81 LENGTH: 490 words

BRYAN WIENER CEO 360i You know those agencies where everything is spare and white, or look-how-creative-we-are designed to the point of distraction? That would not be 360i, whose office aesthetic would be better described as poached from a parking lot next to an Office Depot. But that will soon change: The agency, bought by Dentsu in January, is about to move from cramped space in New Yorks Flatiron to the AT&T Building in tony Tribeca. And there will be foosball. And a coffee bar. And ping-pong. But the culture-remarkably diva-free and hard working-will stay the same. Thats one thing CEO Bryan Wiener took from his first experience running a big web company called-wait for it-The Globe. (For the youngsters, think Facebook about a decade before its time and that actually went public.) It was a cult of personality rather than a clear mission as a company that the marketplace and the employees could buy into, he said. Lesson learned: Its all about the work. To build an agency, Mr. Wiener and partner and co-CEO Will Margiloff began with a solid digital growth business-search-and then started shooting for the white spaces, which has taken them into social and mobile. We have fashioned the agency around the fundamental changes in consumer behavior, he said. Marketers of the future and agencies of the future have to be organized around consumer behavior and not around their own businesses. So far, its working. When the shop started out five years ago by acquiring 360i and Search Ignite under the Innovation Interactive umbrella, it had 45 employees. Now there are over 300, with more than 80 hired so far this year. The core philosophy: technology infused in everything it does. Twentyfive percent of staffers are developers. Clients such as Kraft, Coca-Cola, JCPenney and NBC Universal chose 360i because they wanted an agency 100% focused on digital. 360i is helping Bravo launch 24 shows this year (nine new and 15 returning) by building social campaigns and tools, as well as monitoring conversations and interacting with fans. Bryan and his team are fantastic at keeping us on top of what were not doing, said Valerie Brown, head of consumer marketing for the network. Theyre screaming at us right now

for not adding more tips to Foursquare. That deal with Foursquare-the Bravo badge-came out of research. MRI said Bravo viewers are more likely to be on both Facebook and Twitter than any other network. From that, 360i concluded theyve also probably heard of Foursquare. That was when the social network had 250,000 users, by the way, not the 3 million it has today. For Top Chef Just Desserts, 360i built a Twitter feed for a promotion that let viewers know where they could get free dessert. The agency manages two of the top five Facebook pages. We have been the upstart since we started the company, Mr. Wiener said. We are finally at a point where our business is making a real impact on the market. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Forget TV; todays consumers more attached to Google, Amazon; Online media score 9 of 10 top slots in NewMediaMetrics ranking BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 16 Vol. 81 LENGTH: 368 words

When you consider popular media properties, the natural tendency is to think about those venues that usually draw consumers in throngs: a particular TV show, magazine or even a website. You might be

surprised to find that consumers arent as old-school as all that. The most engaging media outlets-the ones that draw the most involved users-happen to be such things as Googles search engine, AOLs email, Googles YouTube video-sharing service and the Facebook social-networking service. The rankings were compiled by NewMediaMetrics, a Jericho, N.Y., company that studies consumers emotional attachment to media venues and advertisers products. To be certain, ABC and its brethren still make the grade. The Walt Disney network, home to Desperate Housewives and Greys Anatomy, comes in ninth in the rankings, followed by News Corp.s Fox at No. 11, NBC Universals NBC at No. 12 and CBS Corp.s CBS at No. 13. Whats most striking, however, is that these broadscale outlets are trumped by such digital-age phenomena as Amazon.com (No. 5), Apples iTunes (No. 10) and AOLs MapQuest (No. 8). To get its results, NewMediaMetrics conducts an online study with a sample of 3,500 people between the ages of 13 and 54. Participants are asked to grade their attachment to brands and media properties on an 11-point scale ranging from 0 to 10. The companys operating theory is that consumers who say they are attached to a particular media venue pay attention 40% more than an unattached viewer. What people may find most startling are the types of media properties involved. Its true, the act of plotting a map online, exchanging an instant message or buying an e-book or MP3 file isnt exactly what come to mind when people talk about the media. Yet places such as iTunes, Amazon and eBay are taking up more of our time. In many cases, paid advertising is part of the experience. So take a gander at the list of media below. You may find the rankings surprising, but you cant deny the fact that were interacting with a greater number of media outlets these days. More important, perhaps, is that our definition of media-usually our chief source of information, data and entertainment-appears to be in flux. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 New media world makes partners in morning, rivals in afternoon; Co-opetition is in full bloom as roles blur among marketers, advertising agencies and publishers BYLINE: ABBEY KLAASSEN and RUPAL PAREKH; AKLAASSEN@ADAGE.COM, RPAREKH@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 1152 words

After landing at McCann Worldgroup with the charge of turning around one of the worlds largest agency networks, CEO Nick Brien called in a special speaker to deliver a speech to his management team: Jack Griffin. At the time an exec at publishing giant Meredith, Mr. Griffin had helped build its integrated marketing group into a powerhouse customer-relations management and digital shop. The choice of speaker was met with some uneasiness. After all, Mr. Griffin wasnt just putting out magazines; Meredith had gone head to head with McCann Worldgroup in pitches for big Chrysler business. But as Mr. Brien tells it, he told his team to get over it, that in the new world order, agencies and publishers are partners in the morning, competition in the afternoon. That dynamic had a place in the marketing business even before Martin Sorrell started calling Google a frenemy. But theres no denying that co-opetition-a term Silicon Valley gave us-has grown fiercer and the lines blurrier. Media sellers have launched legitimate marketing-services divisions that work directly with clients; marketers have aggressively built their own media and content platforms, creating competition with some of the same people who sell them ads; and agencies have scrambled to build out all sorts of new capabilities, from consulting practices to digital-media-buying platforms that usurp ad networks and portals. Its a big pool and everybodys in it. Co-opetition is in full bloom, said Mr. Griffin, now CEO of Time Inc. Its driven by the client. The client hires the agency; the client hires a media company. You can look and say publishers have gotten into the marketing-services business or the search business. But you see agencies are, in fact, developing customer relationships through demand-side platforms and databases of online users that are housed in agencies. The boundaries that used to be very clear are not so clear anymore. Take Kraft, which thinks of itself not just as the maker of Singles cheese and Oreo cookies, but as a legitimate media company. It launched a magazine, Food & Family, in the early part of the decade, but last year began charging for the formerly free quarterly. Today Food & Family counts over a million

subscribers shelling out $7 a year (a full-price annual sub is $14). Putting a price tag on these experiences is what differentiates them from more traditional custom products. Theyre not simply marketing vehicles; they are money makers, albeit tiny ones compared to Krafts main business. Its clear we have to offer these services on top [of products], said Lisa Mann, VP-customer experience at Kraft. While technology is increasingly the enabler for this trend, the business reason has everything to do with a broader consumer-focused mission. For Kraft, thats helping mom come up with food solutions for her family. Id argue iFood Assistant was in development for 10 years, said Ms. Mann. Its about what service am I delivering to the consumer and what technology or publishing asset will get me there. For marketers, playing in the media and services game is driven by opportunity: a desire to promote their own ongoing consumer experiences, provide better brand utility and, in rarer cases, turn marketing expense into an investment. For agencies and media companies, its about survival. Their models are under threat and they need to adopt a new suite of capabilities and move higher up on a marketers food chain. Eighteen months ago, Ogilvy CEO Miles Young announced his ambitions to transform the hulking global agency into a higher-value offering for clients by devoting resources to a consulting businessnot exactly what Father of Advertising David Ogilvy might have had in mind. But in short order, Ogilvy Consulting has gone from something experimental to a 100-person unit thats become a significant revenue generator for the WPP agency. Its literally our fastest-growing segment, said Mr. Young, noting that U.S. revenue has jumped 30% year on year from a mix of its advertising clients and other companies. The need to move from the merely transactional to the more added value-this has become particularly acute in the area of media disaggregation for agencies. By definition, ideation isnt that scalable, so we have to find other ways to scale. Of course, blurring the lines is risky business and often doesnt work. The pressure is mounting these days on companies to be jacks of all trades, and, well, you know how that saying goes. And just because you can afford to buy up different companies or staff up new offerings doesnt mean you should. In fact, it could seriously confuse your business proposition. Microsoft as recently as last year ranked as a top 100 national advertiser, top 100 media company and top 25 agency company, according to Ad Ages DataCenter, but the giant ultimately felt it necessary to unload digital agency Razorfish, which now sits under Publicis Groupe. Cautionary tales include ill-fated experiments like Bud.TV-the beermakers bold plan to attract 2 million visitors monthly to web-based humor and sports programming-and Honeyshed, David Drogas attempt to reinvent the online-shopping experience by dropping brands into vignettes. Its fine to be optimistic and bold about something thats new in this space, but given the economic climate, the promise of certainty is more responsible than the allure of massive potential, Mr. Droga had said at the time of Honeysheds closing. Droga execs said one of the biggest issues with Honeyshed was the cost-in terms of both time and money-to keep feeding the beast with content.

Which is why Droga now looks at the future of content and ongoing sustained relationships as a platform play where content can come from any number of sources: users, third parties, existing media players. Dave Knox, a former P&Ger who last month jumped to become Rockfish Interactives chief marketing officer, agrees, and thinks one of the biggest fears for many traditional agencies in the space is that they feel they have to create everything themselves. He points to companies such as Associated Content or Six Apart as fitting the new media mold. Look at the emergence of what wed call a media company today, he said. Is Yelp a media company? Definitely. But how much of that content is created by Yelp? That means learning to play nice with competitors-and knowing when not to. The landscape thats been created in the brand world is filled with tension, said Mr. Knox. Think about the traditional brand-youve got a PR agency, a design agency, a traditional agency, a digital agency, a social agency. Then throw a publisher in there and it gets more complex. The real opportunity is for people who have a mindset toward collaboration by nature. The ideal opportunity for marketers, brands, agencies and everyone else is how can we each do what were really good at. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Twitter boosts marketer reach with plan to blast promoted ads; Positive signs so far, with higherthan-average interaction rate BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 20 Vol. 81

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Even after six months, campaigns with nearly 40 different marketers and repeat customers such as Ford, Virgin America and Verizon, Twitter still views its ads as experimental. But thats about to change. Twitter plans in November to take its ads beyond Twitter.com and extend them to the rest of the user base through apps such as TweetDeck and Hootsuite. For all the campaigns so far, from Coca-Cola to AT&T and all the major film studios, the interaction rate with a promoted tweet-defined as a retweet, a new follower or a clickthrough-is 5%, significantly higher than a standard web display ad, where clickthroughs are well below 1%. We now feel pretty confident we are cracking the code on a new kind of advertising, one that is more engaging but also more participatory, said Twitter Chief Operating Officer Dick Costolo. The question going forward is whether Twitters two existing ad units-promoted trends and tweetscan scale, and whether interest in Twitter remains concentrated among big brands that see it as a nifty, albeit small, promotional medium, or if, like Google search, it becomes a must-buy for all marketers. More will be apparent as Twitter extends its ads to third-party apps, boosting reach for marketers and upping the number of searches that turn up its ads. It cant come soon enough for Coke, which has run more than 50 campaigns on Twitter since June, and says its campaigns have had much higher interaction rates than Mr. Costolo is reporting. Since June, Cokes follower count has grown from about 50,000 to 122,000. Nice, but hardly the kind of scale Coke needs. My job is not to play around with tens of thousands of people; its to play around with millions of people, said Michael Donnelly, Coke director-worldwide interactive marketing. After watching engagement rates and experimenting with different pricing schemes, the company has rallied around the cost-per-engagement model, where advertisers bid on actions taking place on an ad, defined as a retweet, follow or clickthrough. Mr. Costolo said theyre charging advertisers for only those occurring on the original ad. Ultimately, Twitters ads will travel wherever tweets go-particularly third-party apps and search. This will bring a source of ad revenue into the ecosystem of Twitter-based apps, and increase the audience for the ads themselves. (So far the ads have only appeared in searches or on the homepage of Twitter.com itself.) A web-based self-serve tool is coming next year. Twitter is still testing how its other unit, promoted trends, will work in the app world. The promoted trend is Twitters version of a homepage ad; they appear at the bottom of the list of organic top 10 trends and link to the search results for the keyword. Mr. Costolo said, in the first six months, a promoted trend increased the occurrence of a given topic or keyword anywhere from 300% to 600%, and that the effect lingers after the promotion ends. It accelerates the pace of discussion, he said.

Twitter wont sell a promoted trend to just anyone; it must be a plausible organic trend, which is part of what made it a good match for the film studios. The NCAA bought a trend for LeBron James around the time of his Decision to leave the Cavaliers with a link to a story about other NBA free agents. Twitter can only show one promoted trend at a time, but that will change when it starts targeting trends at certain geographies or even user interests. More types of units are on the way. An obvious one would be a promoted accounts unit to go along with suggested users. Mr. Costolo said theyre studying it, but still tweaking the algorithms on the suggested user feature. How big will advertising be for Twitter? Part of the answer is how many searches actually occur on Twitter, and what people are searching for. Twitter wont divulge that number, but instead points to some fat box scores that imply search traffic is significant: 160 million accounts, and nearly 100 million tweets and 370,000 new sign-ups per day. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Vibrant Media gears up for a possible public stock offering; In latest sign that the digital market is heating up, little-known company behind hypertext ads taps IPO specialist as financial chief BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 18 Vol. 81 LENGTH: 957 words

Vibrant media, purveyor of the once-confusing double-underlined hyperlinked ads in news articles, may be going for an IPO. The New York-based internet company has hired a chief financial officer, Jeffrey Babka, who is known in the investor community as an IPO specialist. He fits into the business really well from a culture perspective, said CEO Doug Stevenson. Hes got a tremendous track record for success. Mr. Stevenson cited Mr. Babkas previous role as CFO of NeuStar, a telecommunications company that launched an IPO in 2005 and raised over $700 million in the process. The markets were pretty difficult that year, Mr. Stevenson said, and that was one of the best newtech IPOs of 2005. More recently, Mr. Babka was chief financial officer at Sophos, a global IT security company based in Oxford, England, which was acquired by Apax Partners this past June at an $830 million valuation, according to the company. Its just the latest sign the digital media IPO market is heating up, though there are reasons companies considering the move should be cautious. A host of internet companies have recently been touted as the next big digital IPO, but it was Demand Media that set the bar when it filed for public offering this past summer. The content company specializing in low-cost, how-to content is looking to raise $1.5 billion with its offering, which is being underwritten by Goldman Sachs. The company has yet to announce the actual offering date, but industry analysts said Demands announcement opened the gates for others to start looking at public offerings of their own. Some of the more high-profile companies that are reportedly ripe for an IPO are Yelp, LinkedIn and Hulu. Yes, weve been hearing about a number of companies looking to make public offerings, said Reed Philips, principal partner at DeSilva and Phillips. But some of the smaller cap companies that went IPO in the past have gone back to private, which would give pause to some of those smaller companies. Mr. Phillips said the potential valuations on even some of the mid-to large-cap internet offerings are in flux, and that it will take time to see the merits of their going on the public market. Meanwhile, everybody is waiting for Demands stock play. Vibrant, which up till now has been a little-watched, humble internet company, specializes in a sector of internet advertising known as in-text, or, to some, the bothersome ads that pop up when your mouse hovers over hyperlinked text. It signs exclusive deals with publishers and sells key words found within the body of the publishers articles to advertisers. The links are identified by a green double-underline. The company has already expanded into France and Germany and Mr. Stevenson said theyre working on plans to move into Latin America and Asia. At the moment, the company said its annual revenue hovers just above $100 million, with no debt on the books.

Its already profitable, and theyve got a lot of options open to them, including going on the public markets, said Deric Emry, a partner at Vibrants principal backer, ABS Capital Partner, who confirmed the company has reached out to investment banks. He said investors these days look more to a companys CFO to determine the merits of a public offering, which makes Mr. Babkas hiring key to pushing through an IPO. The bankers cant babysit like they did years ago, he said. Oleg Korenfeld, VP-revenue at Hachette Filipacchi Media, said Vibrant is generating good revenue for Hachette, which has been a Vibrant publishing partner for over three years. In-text also allows us to generate alternative revenues without forcing any more graphic advertising on the page, he said. Mr. Korenfeld said the editors at Hachette were initially concerned about employing Vibrants links but, over time, it has become less of an issue. Theyre used to these links being there now, he said, and we havent heard one complaint from the readers. Other publishers who have signed on with Vibrant include MSNBC, Gannett, IDG and Cox Communications, along with a host of other smaller publishers supplying the mid-to long-tail of internet content, such as Glam and Computer Interactive. Marketers buying into Vibrant said part of the appeal is contextual relevance. If theyre reading an article on 3-D TV, we offer up the opportunity for them to view a quick video of our products, said Louis Giagrande, senior manager of digital marketing at Samsung North America. In-text bridges that gap between search and display. Mr. Giagrande pointed out that in-text ads allow a brand such as Samsung to address concerns about a potential recall of a product or even be in an article that may be negative to offer a competing viewpoint. Vibrants business model is heavily reliant on publishers to grow its business. It reached 101 million readers in August, according to ComScore, while its chief competitor in the in-text ad space, Kontera, reached about 92 million for the same month. Kontera is backed by Sequoia Capital. Some experts say timing the public markets is a particularly difficult proposition right now. Were seeing two issues with the IPO market, Mr. Philips said. Theyre tested but its not conclusive at the moment. The market hasnt restored to what it was. In the case of Vibrant, Mr. Phillips said that despite the companys stated ambitions, there is also the chance it could be positioning itself as a possible takeover target. Sometimes companies will announce IPO plans only to make a play to be acquired, he said, though he pointed out that he has no information about Vibrants inner workings. But, clearly, if the window starts to open, he said, youre going to have a lot of people exploring an IPO. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 OK, seriously, whats the future for magazines?; Well, for one thing, theyre not going away. Sure, a weekly or monthly installment of ink on paper can feel pretty archaic when your grandmother is browsing blogs and Pops is on his iPad. Its unlikely the industry will ever see as many ad pages as it did in 2008. Nobody needs magazines like they used to and advertisers have an increasing number of ways to reach you. BYLINE: NAT IVES; nives@adage.com SECTION: Pg. 50 Vol. 81 LENGTH: 668 words

All that said, theres a big difference between losing strength and going extinct, between defensiveness and demise. There will be fewer big magazines, the big ones will typically be smaller than they once were, and it will be harder for them to get the same attention they once did. But many magazines are going to stick around, in print, for many years to come. People still like magazines, after all. Members of the Audit Bureau of Circulations have seen newsstand sales tank of late, but their paid subscriptions have been pretty steady, slipping just 2%, to a none-too-shabby 267 million, in the first half of this year from the first half of last year. And the overall number of people reading magazines-everyone from subscribers to people reading friends or families copies-increased 5.1% to 189.8 million between the spring of 2005 and the spring of 2010, according to GfK MRI research. The industry is also excited about its brands potential on the iPad, smartphones and other devices. The new platforms might even provide some life after death: Last week Cond Nast revived Gourmet, whose beloved print edition it shut down last year, as a free iPad app. If most magazine circulation comes from subscriptions, do newsstand sales matter? Cheap subscription offers are still a key pillar of the magazine business. By signing you up to pay $15 for 12 monthly issues-a years worth of high-quality content for roughly the price of a 3-D movie ticket in New York-a magazine can promise your eyeballs to advertisers, where publishers get most

of their money. Magazines typically get far more paid circulation from subscribers than from the newsstand. But single-copy sales are a big preoccupation of many publishers and their advertisers, partly because they seem to give a real-time measure of a titles vitality among consumers, and partly because theyre more profitable than subscriptions. Thats why its been worrisome to watch newsstand sales decline in recent years. Single-copy sales fell 5.6% in the first half of 2010, compared with the half a year earlier; 9.1% in the second half of 2009; 12.4% in the first half of last year; 11.1% in the second half of 2008; and 6.3% in the first half of 2008, according to magazines reports with the Audit Bureau of Circulations. The good news there, for what its worth, is that most of those declines probably arent about some new disaffection with magazines, according to John Harrington, editor and publisher of The New Single Copy, an industry newsletter. He said theyre more about reduced traffic to grocery stores and bookstores-a result of recession and, in the case of the latter, also the rise of e-books. Lets talk rate base. What are the implications of cutting your paid circulation guarantees? It used to be embarrassing for a magazine to cut the paid circulation guarantee it gives its advertisers, otherwise known as its rate base, because it suggested that the magazine was losing popularity. Rate base is also the basis for ad rates. And the biggest advertisers are drawn to the biggest paid circulations, because they want to reach as many people as efficiently as possible. But the magazine business has changed, reducing the embarrassment. Given the new competition for readers and advertisers, fewer magazines are pumping rate base up, up and up. And more are trimming rate base, trying to focus on their most loyal and profitable subscribers (which they then pitch to advertisers as their most-engaged readers). Cutting rate base has come to look practical, even if its still not what publishers want. Magazines that cut rate base in recent years include TV Guide, Time, Readers Digest, Playboy, Newsweek, Prevention, OK, Outdoor Life, Ski, Skiing, Star and Womans Day. In early July, Meredith said it will chop rate base 16% at Ladies Home Journal and 11% at Traditional Home as it tested higher subscription and newsstand prices for both titles, a bid to collect more revenue from readers and to rely a little less on advertising. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 With its infinite supply of impressions, whats the trend on pricing for online advertising? BYLINE: Edmund Lee; elee@adage.com SECTION: Pg. 52 Vol. 81 LENGTH: 810 words

In a recent tally, ComScore reported the average cost per thousand impressions (or CPM) for the internet hovered around $2.43. That figure has trended up slightly, but not significantly higher, the measurement company recently said. In fact, the average prices for CPMs have not shifted dramatically in a while. The reason for this is theres a glut of online ad inventory, which effectively makes it a commodity. And as any futures trader will tell you, commodity pricing is almost entirely a function of supply and demand. Online, the costs of buying media generally go up the smaller you slice-and-dice an audience. So odds are marketers who want to only reach women 18-34, who live in urban areas and are interested in green products, are likely to pay more than a broad-based general-audience buy-but a more targeted buy is likely to yield better results, meaning higher clickthroughs, sign-ups and conversions. The key to online ad buying is optimizing what you get for what you pay. In general, any successful digital strategy today requires as much on-the-spot strategizing as advanced planning. The most-effective way to manage a campaign is often to mercilessly mark every moment of its run, to see what works and what doesnt and alter course accordingly, in real-time. And so, despite trends in CPMs, the real cost is often time and human capital. Is there any action in online creative or ad-unit sizes? Yahoo and AOL, two of the largest online properties, have begun to unveil larger and larger ad units that are custom to their sites. Meanwhile, the Interactive Advertising Bureau has also been working on sanctioning larger units. These moves signal the emerging importance of capitalizing on and promulgating the internets capacity as an entertainment medium beyond two-minute YouTube clips. Gawker Media recently began experimenting with close to full-page ad units, and Yahoos login page for its email service, one of the most highest-trafficked pages online, now sports a full page that would be a premium placement for any marketer.

According to Yahoo, these full-page units are measured as much for their clickthrough or engagement rate as they are for effectiveness in promoting a brand to offline actions, such as watching a TV show or even buying a car. One of the more-specific motivations for this trend clearly is to bring internet advertising as close to both magazine and TV analogues as much as possible. Larger units walk and talk like a full page, four-color magazine placement. And in some cases, the emergence of richer units that include multimedia can feel more like TV. What about on sites like Twitter and Facebook? At the other end of the spectrum, social networks, specifically Twitter and Facebook, have gone smaller in size. Twitter, by the very nature of its service, has to be small, and in many ways fulfills a different function in the ecosystem of online advertising. A promoted tweet on Twitter, for example, may very well lead to a landing page that is effectively a full-page ad. Facebook, on the other hand, is already a destination, but the company has cleverly maintained the sites relatively clean look and feel with small ad units that arent too intrusive, lest they offend their mammoth membership on which they depend for everything. Overall, its either going very big or very small. The banner will not go away-it has become part of the regular vocabulary of digital marketing-but it is becoming a lower-rent unit. Whats happening between publishers and ad networks? For as long as online ad networks have been in existence, publishers have grudgingly accepted their terms. Why? Publishers typically face two issues with regard to selling online ads: 1) They arent built out to efficiently sell all of their inventory, meaning they often dont have the technology for real-time bidding or the ability to target its audience according to specific segments. And 2) They dont often have the scale to sell to a big media buyer. Ad networks solve both problems by providing scale and targeting at cheap prices. But what is an ad network but a collection of publishers, big and small? The two entities, therefore, work in a strange symbiosis. But that may soon be changing. As some of the bigger publishers become smarter and more technologically savvy, they will eschew ad networks in favor of semi-private consortiums of publishers, which would allow them to offer them both scale and technology. When this happens, prices are certain to go up, but the larger promise behind such a scheme isnt simply to get more money from advertisers (though that is ostensibly the goal), but to offer advertisers better branding as well as better performance. In the end, even if publishers are charging more than what a network may offer, advertisers may not end up paying more if theyre buying only for performance. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 27, 2010 Whats new with outdoor ads, and whats this digital out-of-home I keep hearing about?; Theres a lot more to outdoor these days than just billboards. Although traditional outdoor is in the midst of its first quarterly rebound since 2008, growing 3.6% to $1.9 billion in second quarter 2010, its video-based counterpart is picking up some major steam, too. BYLINE: ANDREW HAMPP; ahampp@ adage.com SECTION: Pg. 48 Vol. 81 LENGTH: 505 words

Digital out-of-home is any place-based video screen where consumers can view unique content and ads, from grocery stores to taxicabs to gas stations and all locations in between. PQ Media valued the sectors size at $1.8 billion in 2009 (compared to traditional outdoors $5.9 billion), while Veronis Suhler Stevenson pegged it closer to $2.5 billion once in-cinema ads and digital billboard were factored in. Organizations like the Outdoor Advertising Association of America and Digital Placebased Advertising Association continue to monitor the revenues and trends of each industry. Why use out-of-home in my media mix? As the advent of mobile and app-based advertising makes everything about location, outdoor ads are trying to play an integrated part in contextually relevant campaigns. Witness Clear Channels recent rollout of dynamic digital partnerships with advertisers like E! News and the Los Angeles Times, which each used billboards to broadcast real-time headlines to drive traffic to their respective newscast and websites. More recently, Baton Rouge-based Lamar Advertising held a pro-bono campaign alerting consumers along the Gulf Coast to a toll-free hotline to report fraudulent claims associated with the oil-spill recovery. Time-sensitive marketers like retailers, local political races and movie studios have also upped their investment in the medium this year to ensure their ads get seen in time-in many cases a strategic shift away from TV dollars, as more and more ads get skipped

by DVRs. Why are there so many screens everywhere? What could I possibly want to watch at the gas station or the coffee shop? Programming the millions of screens that have cropped up in every imaginable location has been no easy task. But companies like IndoorDirect, Gas Station TV and Reach Media Group are seeking to change that, with key partnerships with publishers like MTV, The New York Times and others to keep consumers engaged in the most remote locations. ber-producer Mark Burnett recently partnered with independent production company Vimby to develop original content for out-of-home screens, while Starbucks just announced the addition of content from iTunes, SnagFilms, USA Today, The Wall Street Journal and other partners to its in-store digital network later this fall. How do you measure outdoor ads these days? The Traffic Audit Bureau unveiled its revamped Eyes On metrics, equating the audiences for billboards and street furniture to other media for the first time. For digital out-of-home, Nielsen just rolled out its first quarterly report on the medium, the Fourth Screen Network Audience Report, tabulating total impressions and audiences for leading video networks like National CineMedia, Screenvision, Premiere Retail Networks, Reach Media Group and Zoom Media & Marketing. The DPAA also continues to work with the industry to develop guidelines and best practices for digital out-of-home buying and selling. What are some strong examples of new out-of-home creative executions? See photos, above. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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September 27, 2010 Who listens to radio these days, anyway? Doesnt everyone use their iPods and iPhones to hear music?; Believe it or not, radios audience is still growing, with more than 239 million persons ages 12 or older interacting with the medium at least once a week, according to Arbitrons new RADAR 106 report. Thats four million more than radios weekly audience in 2009, a sign that the oldest broadcast medium is still finding new listeners. BYLINE: ANDREW HAMPP; ahampp@adage.com SECTION: Pg. 50 Vol. 81 LENGTH: 654 words

In fact, network radio reaches more than 88% of adults 18 to 34, a 3% increase from the previous year, and more than 93% of African-Americans and 96% of Hispanic persons ages 12 or older. Radios even a bit affluent-96% of college graduates ages 25 to 54 with an annual income of $50,000 or more still listen to radio once a week, while 88% of 18-to-49-year-olds with college degrees and an income of $75,000 or higher tune in each week. As for iPods and iPhones, 1 in 4 Americans connect their iPod to a car stereo, while 27% of the country, or 67 million people, listen to online radio every month, according to Edison Research and Arbitrons 2009 Infinite Dial Report. OK, but do people still buy ads on radio? Doesnt everyone change the dial during ad breaks anyway? Radio just experienced its largest quarterly revenue gain since 2000, growing 8% to $4.5 billion in second-quarter 2010, according to the Radio Advertising Bureau. The first half of 2010 is now up a combined 6%, the first yearly increases for radio since 2007. Surprisingly, a lot of that growth is driven by national advertisers, whove stayed away from the medium in recent years due to radios inefficient measurement and buyer-unfriendly planning tools. As leading companies like Clear Channel and CBS Radio continue to integrate sales forces (not to mention bundle buys with outdoor ads for key clients), its become easier for leading wireless, entertainment, automotive, retail and financial service marketers to place their ads in radio. Plus, people seem to be hearing themArbitrons RADAR 106 report revealed that 190 million persons ages 12 or older heard at least one radio commercial a week. Arbitrons Portable People Meter, introduced in several markets in 2007, finally reached national deployment this past year and has also helped national marketers equate radio to other media on a demographic and average-time-spent basis for the first time. What about HD Radio? Does anyone listen to that? Not as much as the radio industry would like you to, but more than you think. Weekly tune-ins vary by market, but the HD audience can be quite high in cities like New York (74.1 share among persons 12 and older), Los Angeles (79.8 share), Chicago (85.9 share) and even St. Louis (84.1 share.) More than 2,000 of the countrys 13,000 stations had been converted to HD by August, with more than

1,200 multicast channels. The consumer push to sell costly HD radio players as retail seems to have been shifted to installment deals with automotive manufacturers, with Lincoln, Audi and Kia recently signing up for standard or optional HD radio installations in 2011. Leading HD radio manufacturer iBiquity expects to have 1.2 million devices available in cars, consumer electronics and portable music players by third quarter. Is online radio a big deal yet? In fact, online radio has become a solid business in recent months, with SNL Kagan pegging the market to be worth as much as $550 million by years end. Arbitron and Edison also recently put the weekly online radio audience at 42 million listeners in 2009, up from 33 million in 2008, while ComScore reported that radio was the fastest growing online category during the month of June, with a 34% increase in monthly visitors (48.9 million total.) The growth is thanks in part to developments like Apples acquisition of Lala; News Corp.s purchase of iLike.com and Imeem; and the continued growth of leading radio site Pandora, as well as Clear Channels iHeartRadio and CBS Radios Last.FM. Yahoo Music and News Corp.s MySpace Music are also considered big online radio players, while satellite company Sirius XM has made an increased investment in online offerings to paying subscribers. Pandora is still the largest player in the space, recently surpassing the 60 million registered user mark in July due to the continued success of its mobile app as well as its linear adsupported site. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Is anyone really watching TV on their phones?; Well, not yet, but signs look good. Out of the more than 200 million American mobile subscribers 13 years or older, 11 million watched TV or video on their phone in the three months ending in July, according to ComScore. Keep in mind, those numbers include YouTube views as well as downloaded shows. Fewer than 3 million watched broadcast TV

on their phones in that period, though that audience is growing as more phones with high-resolution screens and larger-format devices, like iPad, come online. BYLINE: KUNUR PATEL; kpatel@crain.com SECTION: Pg. 56 Vol. 81 LENGTH: 771 words

Restrictive data networks will remain a hurdle for mobile video as streaming video on cellular data networks is often slow or restricted to Wi-Fi streaming only. But as the midsize screen gains groundiPads expected to be 2010s Tickle Me Elmo during the holiday season, and Android tablets will hit the market soon-the question is: Which mobile device will grab TV viewers? Both ABC Network and Netflix launched early video iPad apps that have so far been downloaded millions of times. What kind of traffic do the biggest websites get from mobile? Its a good question thats still tough to answer. While the wired web enjoys third-party measurement from the likes of Nielsen and ComScore, were just not there yet in mobile. There are tools to measure visits and usage within individual apps and mobile websites, but its going to take coordinated efforts from carriers for the data were used to online in mobile. ComScore does not yet release mobile-website traffic and Nielsen releases numbers based on sampling, not meters. While mobile-measurement startup Ground Truth can rank the top-visited mobile sites, it only releases market share, not hard visitor counts. Do the rules of the wired web still apply to mobile? Some things havent changed in mobile: Google still leads as the most-visited site in mobile and is the primary starting point for users on their paths to other mobile sites, according to Michael Libes, Ground Truth founder and chief technology officer. According to Nielsens sampling, Google sites have 46 million U.S. unique visitors on the mobile web in July-thats almost 16% of all mobile subscribers. We also know social networking accounts for most mobile-web traffic. In the mobile web, social networking dominates by far in terms of unique users and page views, said Mr. Libes. Social networking is about half of everything done on the mobile web. But its not just the usual social-networking players like Facebook, MySpace, YouTube and Flickr. While Facebook and MySpace account for the majority of traffic, we see an entirely new suite of mobile-only brands like FunForMobile, MocoSpace and Myxer. Whats more, properties that make ComScores list of top 10 web properties like Yahoo, Microsoft and AOL dont show up on Ground Truths mobile-webleaders list. Those online brands still draw mobile audiences in the millions. Yahoo sites had 39 million mobile uniques in July, MSN properties nearly 26 million, and AOL had almost 21 million, according to Nielsen. Are apps still relevant?

Yes, Apples App Store at more than 225,000 apps and growing, and more developers are turning to Googles mobile operating system, Android, but it remains to be seen what real value media companies can find in the app economy. By usage numbers, apps are largely led by gaming and utility. According to Nielsen, gaming apps are the most popular, followed by weather, maps and search, and social networking. Facebook is the most popular individual app on iPhone and BlackBerry. On Android, Facebook is No. 2, trailing Google Maps-this app, the Weather Channel and Pandora, are leaders on all platforms. In Apples App Store, the only media properties that make the Top 25 free, paid and top-grossing lists are Facebook, Cooks Illustrated, Groupon, Netflix, Glee and ESPN Fantasy Football. But that might just be an endorsement for the mobile web, a mobile medium that is arguably a lot less sexy than the app. Mobile websites span devices-the same site works across iPhone, Android and Blackberries, while youd have to develop separate apps for each of those platforms-which results in a substantial user base on the mobile web. Top media brands are rounding out Nielsens list of top visited mobile web brands: Weather Channel had almost 21 million uniques in July, CNN nearly 15 million, ESPN more than 12 million, Fox Interactive 10 million and Fox News 9 million. Do the same ads work online as in mobile? No. Creating mobile-specific creative thats separate from the desktop campaign means improved performance-80% increase in clickthrough rates and a 43% bump in conversion rate, according to Google. Mobile ads also mean different ways to target and sell ads. While big publishers sell inventory in their mobile apps, a good deal of in-app ads are sold through mobile ad networks like Millennial Media and Googles AdMob that dont let you cherrypick the apps where your ads will run. With an ecosphere ruled by developers whose operations may not be big enough to to support a sales staff, ad networks provide targeting by demographics, handsets and verticals, but not necessarily specific content. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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September 27, 2010 How do I make the conversation about me?; Social media has evolved and will continue to do so. As part of its development, its switched its focus from media to social. No longer is it about making a video, pushing it out on every social network and waiting to see if people watch it. The brand does not need to be the center of the social activity, because people prefer to focus on themselves and what they like to do. Instead, the brand should go and be where the social activity already exists and interact with the people there. Let them keep doing the stuff they already like to do, just let them do it with your brand. BYLINE: Irina Slutsky; islutsky@adage.com SECTION: Pg. 57 Vol. 81 LENGTH: 528 words

The trending for the first time ever in a decade is that the opportunity for social is to leverage preexisting communities, said Chris Cunningham, CEO of Appssavvy, a firm that works with marketers and social media. Rather than hiring a game developer to build a branded farm game on Facebook, youre going to integrate into Farmville. Before, it was about building something around my movie or my content or my bar of soap. Now, its about the people. Do I have to put up with the bad things? Some brands jumped on the social-media bandwagon only to recoil at the mere hint of criticism from their customers, shutting down comments and putting out the frozen-smile press release. Yeah, that doesnt work in social media-customers can smell a PR tweet before execs walk out of the meeting that approved it. If you are going to be current and use all the power social media avails you, you cant be scared of your own consumers. They are the backbone of your business, so if you cant have an honest conversation with them, what kind of company are you? A scared one. And fear means the absence of trust. And we all know that trust is what creates brand loyalty and delivers the right kind of point-of-purchase decision making. Remember that if youre gonna listen to people, be ready to take some hits and be OK with that. Some brands attempt to do social media without the social, said Seth Goldstein, founder of SocialMedia.com and StickyBitz. They want all the benefit of the warm and fuzzy feelings of consumers communicating around their brands, but also want to lock down what consumers say about them. The best brands understand its important to be vulnerable, and consumers reward companies that are willing to be criticized. Companies like Zappos and Comcast have done a great job being open to criticism. They can turn the critics into advocates. So whats a brand to do? Take it slow and easy, but know that the social part of social media is the human part. So show the human side of your company. You can do it. But you might need some help.

Whats the deal with these social-media gurus? A big part of being human is making mistakes. Another is asking for help. In case you havent seen the warnings, lets review: Just because someone has 5,000 friends on Facebook and 100,000 followers on Twitter and calls himself a social-media expert doesnt mean he is. But there are definitely people out there who know how to handle this stuff better than others. Most of the time, they dont work alone, and a lot of the time they have things they can show you theyve done that are pretty impressive. This stuff isnt hot off the presses anymore, so you can look up what brands they worked with and what theyve done over the past few years. If someones Twitter stream consists of nothing but promises to triple your followers in two days-or worse, offers to sell followers-youll probably want to move on. Social media these days isnt just a matter of whether youre blogging or tweeting. The question is, are you interacting with your consumers in an authentic way? Are you a trustworthy brand for real, not just for show? Are you less media and more social? LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Does anyone under 30 watch live TV these days?; You betcha-but less, perhaps, than other generations. According to Nielsen, kids between the ages of 2 and 11 watch just 25 minutes and 48 seconds of live TV each week. Keep in mind that these viewers are likely not encouraged to watch the cop shows and saucy comedies that air at 9 p.m. and 10 p.m., and may watch less TV overall when compared to their elders. At the same time, the habits TVs youngest viewers are forming-more

content than ever is available via video on demand, and some of these kids may never know a day when they had to sit in front of the TV at a specific time and date in order to watch their favorite program-are giving rise to what may be the first truly on-demand generation. BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 46 Vol. 81 LENGTH: 564 words

They expect shows to appear at the snap of a finger or the click of a remote or mouse. How serious a threat is cord cutting? Despite a spate of news stories depicting a nation of video addicts who simply download the content they want via a jacked data connection, research suggests more consumers are making sure they have a more established connection both to TV programming and web and data services. Its true that theres been some churn. In August, SNL Kagan found that the U.S. multichannel industrycomprising cable, satellite and telecommunications providers-lost 216,000 customers in the second quarter of 2010 compared to a gain of 378,000 in the year-prior period. The research firm cited unemployment and a weak housing market as factors. Yet, according to a report issued in February 2010 from the Leichtman Research Group, the multichannel video industry added 580,000 subscribers in the first quarter of this year. And while the company found that the nations top 10 cable providers had lost about 1.4 million cable TV subscribers in the year ending the first quarter of 2010, the number was offset by gains of 1.33 million satellite-TV subscribers and 1.78 million subscribers to telecommunications-based TV services such as Verizons Fios and AT&Ts U-Verse. Leichtman also found that in communities where cable TV was available, 89% of households with a TV set subscribed to some form of multichannel video service-a new high. Why do prices for broadcast seem to go up when the ratings keep going down? Dont be confused by industry jargon. Unit prices for many top shows are in decline, as one might expect when the number of people watching TV on a specific day or date is on the wane-and the number of people watching the ads that support them is even less. Whats going up is something known as a CPM, or the cost of reaching 1,000 viewers-a measure that advertisers use to judge how their TV spending works for them. Because fewer people are watching TV in traditional fashion, getting an ad in front of 1,000 people can require more airings of the commercial. In the last upfront, networks managed to cadge CPM increases ranging from 7% to 10% after agreeing to rollbacks of 1% to 3% in the year-earlier session. Bottom line? It costs less to advertise on broadcast TV, but more to reach the sheer number of people that make TV advertising effective. When will interactive-TV-and all the gee-whiz ad gimmicks we keep hearing will come with it-

become reality? Patience. There are plenty of interesting experiments in the marketplace, and even some projects that have gained traction, but the growth of interactive and addressable TV advertising is slowed by technology and the many disparate providers of video service to consumers. You want to put an ad out in front of the greatest number of people possible? Easily done-put it on ABC, MTV, TBS or CBS. You want to put an interactive or addressable ad out to a similar number? Thats a much tougher task. Why? Because those types of ads are distributed by a wide range of cable, satellite and telecommunications providers-and the wires and boxes they place in consumers homes-so its much harder to devise one ad that works across all those platforms. Instead, its up to each marketer (and their agencies) to try to build scale by crafting individual deals, then managing them all with a national audience in mind. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Zuckers fixation on future led him to lose perspective on present; From Today show triumphs to Leno-Conan debacle, NBC chief is nothing if not a risk-taker BYLINE: BRIAN STEINBERG; BSTEINBERGADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 789 words

Almost from the moment Jeff Zucker arrived at NBC 24 years ago, he never stopped testing new

ideas. In 2001 he extended Friends, Will & Grace and Just Shoot Me to 40 minutes from half an hour in an effort to keep people from watching CBSs Survivor on Thursday nights. At the time, he said the shift may open up some possibilities for different thinking in the future, hinting at similar disruptive moves down the road. And that there were-some successful and others so completely wrongheaded that the Peacock network at times became the butt of jokes both inside and outside NBC Universal. Witness the public sport made by its own late-night hosts during the Leno/Conan debacle. But in retrospect, the NBC Universal CEOs biggest failing might also have been his biggest asset: He is a visionary. Like a mad scientist, he planned so far ahead that he didnt see the villagers protesting right in front of him. In short, he was maneuvering for the future at the expense of his flagship broadcast networks present. Mr. Zucker preached to the media and investors about the need to keep programming costs under control as digital dimes replaced analog ad dollars; about new ways to hold viewers while technology kept luring them in new directions; and about the benefits of the cable model, where advertising revenue is supplemented by fees from cable and satellite providers. But his preaching often made advertisers, affiliates and producers think he was biting the hand that fed him, that he didnt particularly care for the medium that was generating much of the buzz for his company. The name on the door was NBC Universal, after all, not Syfy Universal. Some of his ideas were worthy. Its true, for example, that cable has proven more durable and attractive in recent times. If ABC and CBS had more cable in their portfolios, they might be better able to amortize the costs of their news divisions. NBC Universal also teamed with News Corp. to create Hulu, establishing a viable, ad-supported online-video model. And NBC Universal has cleverly packaged its media assets in ways that let advertisers buy packages tailored to reach women, for example, or the environmentally conscious or people focused on health. But Mr. Zucker sometimes seemed to let the business of today drift. Its one thing to cast aspersions on broadcast TV, which faces abundant challenges as technology siphons away the massive audiences that made that venue so attractive to advertisers and lucrative for its owners. Its quite another thing to talk down broadcast while hunting ad dollars for a broadcast operation whose ratings are falling below the competition. Ad buyers for years have privately marveled at how Mr. Zucker kept his job, given some of NBCs flubs. And there have been some big flubs. Under Mr. Zucker, NBC never really developed a pipeline of emerging programs that could grow and prosper while Frasier and Friends were still on the air. That soon left NBC playing defense as Fox raised the quality of its lineup and as CBS hammered home a spate of staid but durable hits. And Mr. Zucker may never shake off the fallout from engineering one of TVs great debacles-putting a Jay Leno talk show on in prime time. NBC had prepared an orderly transition for its Tonight franchise, agreeing years earlier to move

Conan OBrien into the slot as Jay Leno departed. But NBC regretted its commitment as the scheduled handover approached. Mr. Leno was still popular and could have set up shop elsewhere, potentially further dividing the late-night pie NBC had long dominated. To counter this possible move and simultaneously keep costs down at NBC, Mr. Zucker gave him a daily weeknight berth at 10 p.m., eliminating the millions of dollars in costs for the scripted dramas that might normally run at that time. The move backfired: Mr. Lenos prime-time ratings sagged, providing a weak lead-in for local affiliates crucial late news. When NBC tried to move Mr. Leno back to his usual roost, it was Mr. OBrien who bolted and arranged to set up shop somewhere else, potentially further dividing the late-night pie NBC had long dominated. Give Mr. Zucker this: He never let the TV industrys longstanding business practices keep him from trying something new or even something eyebrow-raising. Sure, some of NBC Universals maneuvers seemed as if they were cobbled together with spit and Silly Putty, and no question, several of them proved wildly out of sync with the way advertisers and consumers continue to regard TV. Even so, the world is changing. TV viewers are becoming DVR viewers, cable viewers, iPod viewers. Many other broadcast executives are trying to stand pat. The question is whether they are fiddling while their villages burn. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Correction Appended 100 LEADING MEDIA COMPANIES; The media recession is finally over. Media 100 revenue is seeing single-digit growth this year following 2009s 3.8% decline. So just wheres the money? Hint: Better to be the cable guy than the magazine guy BYLINE: BRADLEY JOHNSON; bjohnson@adage.com

SECTION: Pg. 26 Vol. 81 LENGTH: 1328 words

Need proof that the media recession is over? Consider this: Reported revenue for the nations top media firms climbed 6.1% in the first half of 2010, according to Ad Ages analysis. First-half measured ad spending rose 5.7%, with gains in every sector except newspapers, according to Kantar, and media employment shows signs of stabilizing. What a far cry from 2009: Net U.S. media revenue for the 100 Leading Media Companies fell 3.8% last year, the first decline since Ad Age began ranking media firms in 1981. That drop would have been far worse were it not for cable. Video and broadband providers-cable systems and their satellite and telecom-owned rivals-managed a 4.3% revenue gain in 2009, reflecting their ability to hike prices and upsell consumers on premium broadband and video services. Revenue for cable networks jumped 4.7%, largely reflecting their ability to get more money from cable/satellite/telecom companies that carry the channels. Factor out video and broadband providers, and Media 100 revenue tumbled 8.3% in 2009, according to the Ad Age DataCenter. Video and broadband providers are the elephants in the media room. Video and broadband services accounted for 39% of 2009 net U.S. media revenue for the top 100 companies. These services were the No. 1 source of U.S. media revenue for eight of the 15 largest media firms-led by Comcast Corp. and DirecTV, the two largest media companies. Cable networks, meanwhile, were the biggest source of U.S. media revenue last year for five of the top 15 companies. Walt Disney Co., Time Warner and Viacom all generate more than half of U.S. media revenue from cable networks, according to Ad Ages analysis. Better to be the cable guy than the magazine guy: At No. 14 Advance Publications, revenue from a regional cable-system venture (Bright House Networks) last year passed magazine revenue (Cond Nast, Parade and other publishing units), according to Ad Age DataCenter estimates. The private company declined to comment. Last year marked a sea change: Media 100s digital revenue surpassed newspaper revenue. Google, the top digital-media company, ranked No. 13. Facebook debuted on the list at No. 69. However, digital media revenue slipped 1.7% as the sector was depressed by slumping revenue at Yahoo, AOL, Monster Worldwide and News Corp.s MySpace. Overall broadcast TV revenue for the Media 100 tumbled 13.2% in 2009. That decline reflects both the recession (which officially ended in June 2009) and the void left by 2008s spending on political advertising and the Summer Olympics. TV revenue is rising this year thanks to an improving ad market and midterm election spending.

Print media had an abysmal 2009: Newspaper revenue at Media 100 companies plunged 21.5%, and magazines slid 19.6%. Magazine revenue has improved in 2010. Time Warner, parent of No. 1 magazine publisher Time Inc., said first-half magazine ad revenue rose 5%, driven by a $26 million gain in U.S. print advertising and a $21 million (or about 20%) jump in digital advertising. Digital advertising accounted for 14% of Time Inc.s first-half ad revenue. In 2007, before the recession, online advertising accounted for only 7% of Time Inc. ad revenue. The newspaper industry continues to suffer death by a thousand paper cuts. The industry has slashed one in four jobs since the start of the recession; employment today is roughly half the level of the industrys 1990 peak. Newspapers were the only media sector to see a drop in first-half 2010 measured ad spending, according to WPPs Kantar Media. Add up all the figures, and Media 100 revenue totaled $309 billion in 2009, down 3.8%. Figures come from Ad Ages tally of broadly defined media revenue including advertising; subscriptions; movie tickets, DVDs and video-game software; and fees from TV production/licensing. Video games are new to this years report, reflecting the blurring of media content. Media revenue this year is tracking at a 6.1% growth rate based on Ad Age DataCenters analysis of first-half reported revenue for major publicly held media companies. A look at job data offers more signs that the market is turning. U.S. media employment fell 9.2% in 2009, but staffing has shown signs of stabilizing in recent months. For the first time since 2006, media employment has risen for two consecutive months, according to Ad Ages analysis of recent Bureau of Labor Statistics data. (See detailed figures at AdAge.com/adjobs.) Internet media companies and broadcast TV have seen solid year-to-date job gains. Theres even hope in newspapers, where recent monthly job cuts are at the lowest level since the start of the recession. Media 100 revenue held up comparatively well during the recession because of the diversity of revenue sources. Subscriptions and fees, for example, fared better than advertising. U.S. measuredmedia ad spending last year plunged 12.3%, according to Kantar. Video/broadband providers (with fees from consumers) and cable networks (with fees from video/broadband providers) benefit from fee revenue that is less susceptible to the cyclical swings of ad revenue. Consider: News Corp. said revenue for its U.S. cable channels jumped 14% in the year ended June 2010, with a modest 3% rise in ad revenue but a whopping 19% jump in fees from cable/satellite/telecom video services. (Telecoms are a big deal; Verizon Communications and AT&T were the nations No. 8 and No. 10 providers of pay TV service in 2009.)

News Corp. Chairman-CEO Rupert Murdoch is pushing hard to build fee revenue in online media (where WSJ.com has a strong subscriber base) and TV broadcasting (getting fees from cable/satellite/telecom companies). Under the 1992 Cable Act, TV broadcasters can negotiate with multichannel video programming distributors-cable, satellite, telecom-over the right to retransmit a local broadcast signal. But only recently have broadcast network companies begun to extract significant revenue from these retrans fees. Owners of major broadcast networks-who all also own cable networks-want broadcast TV to have the dual ad/fee revenue sources long enjoyed by cable channels. Broadcast fee revenue is starting to benefit the top line. Mr. Murdoch told analysts last May: In broadcasting, were now on track to build a dual revenue stream that enables Fox to achieve real value, one that equals its strength and importance to viewers. And we will continue to negotiate hard with all our distribution partners to ensure we remain on this track. Retransmission is a real breakthrough. Ditto for CBS Corp., where retransmission revenue more than tripled in 2009. The company expects CBS-owned TV stations to haul in more than $100 million in retransmission fees this year and more than $250 million in 2012. It also expects to snare a share of retrans fees that CBS non-owned affiliates collect. Joseph Ianniello, CBS exec VP-chief financial officer, said at a September investor conference: We are at the embryonic stage of this kind of revenue. Rising fees for cable networks and for retransmission consent has mixed meanings for Comcast. The top cable-system firm cuts big checks to cable networks and broadcasters. (Comcast in August signed a 10-year retrans agreement with CBS.) But Comcast expects by year end to complete a deal to become majority owner of NBC Universal, a cable network and broadcast TV company that benefits from such revenue streams. With the NBC Universal deal, Comcast will also get a 32% stake in Hulu, an online video content site that in some ways competes with cable systems by letting users watch TV shows on PCs, TVs, mobile phones and tablets. When an analyst last December asked Comcast Chief Operating Officer Steve Burke if the combined Comcast/NBC Universal might want to change the free Hulu service by offering a Hulu Premium, Mr. Burke replied: That is certainly not in the cards. Nope. Six months later, Hulu launched a $9.99-a-month subscription service, Hulu Plus. Change happens in media. Yep. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH CORRECTION-DATE: October 18, 2010

CORRECTION: Community Newspaper Holdings had 2009 revenue of $458 million (down 14.4% from $535 million in 2008), placing it No. 73 on Ad Ages 100 Leading Media Companies ranking. These figures are based on Ad Age DataCenters revised analysis of the private companys revenue; Ad Age previously had estimated 2009 revenue at $371 million (Media 100, Sept. 27, 2010). PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 MEDIA MAVENS; Longtime TV execs not-so-secret key to success is homing in on what her viewers want-and delivering BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 40 Vol. 81 LENGTH: 502 words

COLLEEN FAHEY RUSH EXEC VP-STRATEGIC INSIGHTS AND RESEARCH MTV NETWORKS Understanding the zeitgeist has always been the greatest selling point-as well as challenge-of MTV Networks channels MTV, Nickelodeon, Comedy Central, VH1, Spike, TV Land and Logo. As the long tail of niche media continues to rely more on scalable audiences and results-driven ad deals, how can anyone working with so many networks even begin to keep up with their disparate viewers? For Colleen Fahey Rush, exec VP-strategic insights and research at MTV Networks, this challenge begins and ends with the viewers themselves. In recent months, Ms. Fahey Rush has been working with each of the networks programming and research teams to create dedicated brand filters that

ensure every show that gets greenlighted has a laser focus on its audience. That strategy has yielded MTVs highest ratings in eight years thanks to mega-hits such as Jersey Shore and the 2010 Video Music Awards, the networks third-highest-rated telecast ever; it assisted Comedy Centrals breakout show Tosh.0 and TV Lands Betty White sitcom Hot in Cleveland, the most-watched show on the boomer-targeted cable network; and it prompted Nickelodeon to order a series based on popular YouTube personality Fred Figglehorn. Really fine-tuning what todays viewers are all about has helped define the kind of programming were putting on the air, Ms. Fahey Rush said. With something like Comedy Central, when you think about how people in their 20s now are millennials, they have a different concept of comedy, and we need to be aware of that. So Tosh.0 is a great example of how were appealing to that younger audience. Theres a lot of research we do for ourselves, and being able to share that with advertisers has become a bit of a calling card for us. To wit, MTV Networks has made more than 220 audience-centric presentations to more than 3,500 media execs in the past year alone, proof that theres high demand for its strategic insights into the kids, millennials, boomers and all the ages in between that make up their audiences. Ms. Fahey Rush has spent enough time in the trenches to earn the respect of her colleagues, and she is the chairman of the Coalition for Innovative Audience Measurement, a cross-media consortium of 22 top marketers, media companies and ad agencies seeking to identify and invest in best practices for audience measurement. Working with CIAM Managing Director Jane Clarke, Ms. Fahey Rushs goal is to bring new insights to the media marketplace with initiatives such as a U.S. adaptation of the U.K.s landmark Touchpoints study of cross-platform media consumption, as well as a lexicon and forthcoming white paper to help members better understand set-top-box data. Theres no standard language among set-top-box data providers and users, so we commissioned a white paper to detail all the challenges but also the opportunities, she said. We see set-top-box data, when its fused with other data, as a big opportunity. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 LIFE IN A THREE-CHANNEL UNIVERSE, BACK WHEN NEWSPAPERS WERE PRINTING MONEY; Broadcast TV and print ruled the first Media 100, but cable was wired and ready BYLINE: MAUREEN MORRISON; MCMORRISON@ADAGE.COM SECTION: Pg. 30 Vol. 81 LENGTH: 457 words

When Ad Age released its first 100 Leading Media Companies ranking in 1981, the reigning three broadcast networks-ABC, CBS, NBC-topped the charts. And nearly half the companies on the list made the lions share of their revenue from newspapers. No surprise there. TV watchers back then didnt have much choice; barely a fifth of households had cable in 1981. Newspaper daily circulation, meanwhile, was only slightly off the industrys 1975 peak. Much of the focus in that first Media 100 report was the idea that the 80s were ushering in an era of unparalleled growth in the media industry, marked by accelerated movement from one type of media business to another. The cable revolution was very much underway in 1981. Ted Turners CNN was a year old. TeleCommunications Inc., John Malones pioneering cable-system company, ranked No. 66. Malone later sold TCI to AT&T, which then sold its cable business to Comcast Corp. in 2002. Comcast in 2009 became the nations largest media company. (Mr. Malone today is chairman of Liberty Media Corp., a media conglomerate that owns the Starz and Encore premium cable channels.) Comcasts 2009 net media revenue ($32.1 billion) is greater than the combined revenue of the 1981 reports top 100 media companies ($29.5 billion, based on 1980 revenue). (Comcasts 2009 revenue, adjusted for inflation in 1980 dollars, was $12.3 billion.) The buzz in 1981 was electronic media-cable channels and information delivered over cable wires, plus information services delivered to computers over phone wires. Print media companies scrambled to figure out which emerging technology offered the best chance for revenue, profits and growth. Sound familiar? From the first reports analysis: Technology is making it possible for newspapers to deliver on TV screens the information and advertising they traditionally delivered as newsprint. At the same time, technology is affording television the opportunity to provide the in-depth news coverage (witness

Cable News Network) traditionally the province of the print media. Newspapers experimented with ways to expand into new media. CompuServe, an early online service, in 1980 signed deals with The New York Times, The Washington Post and other papers to deliver content to computer screens. Newspaper publishers stumbled on execution. But they keep trying. Take the iPad, for example. Newspapers today are betting on the Apple tablet, hoping for a new revenue stream. One newspaper publisher stands out in the 1981 report: Rupert Murdoch, an Australian press baron whose U.S. holdings included the New York Post. News Corp. now ranks No. 5, up from No. 32 back then. The first Media 100 report described Mr. Murdoch as controversial. Some things in media dont change. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 27, 2010 Cracking viral code: Look at your ads. Now look at Old Spice; Recent string of hits from P&G grooming biz seem to point to a formula for online-video success-engaging, surprising media that appeals to both genders BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 16 Vol. 81 LENGTH: 1003 words

Viral video long has seemed a crap shoot, or more like a lottery considering the potential of the payout vs. relatively small cost and even smaller odds of success. But the recent string of viral hits from one unit of one marketer-Procter & Gamble Co.s mens grooming business-seems to point to a formula, and one that can be repeated. Up to now, viral video has defied predictability, other than the likelihood that marketer videos will be widely ignored. YouTube users upload 24 hours worth of video every minute, so sheer numbers are the ideal antibody against any video going viral. Even brands that have had big hits, like Evian with its Roller Babies last year or Dove with Evolution in 2006 have yet to repeat their megasuccesses, which just adds to the mediums reputation for fluke one-offs. Some marketers who believed viral success could be planned fast discovered it couldnt. At an Advertising Research Foundation cross-media measurement conference in Chicago in May, Tom Palmer, exec VP of the central region for Ipsos OTX, recounted the story of a brand whose media plan fell short of target largely because it counted on an audience for viral videos that didnt materialize. Yet the recent viral-video successes of a marketer legendary for finding and relentlessly institutionalizing winning formulas suggests one does exist and that its been discovered. P&Gs Old Spice and Isaiah Mustafa videos have been this years viral phenomenon. But beyond that, Old Spice has had Mustafa-free videos hit the top 10 in Visible Measures and Ad Ages weekly viral-video chart. Old Spices next-door sibling in the Boston-based P&G mens business, Gillette, also has been regularly sending videos up the viral charts in recent months. The subjects range from Roger Federers William Tell tennis-ball shtick to the pre-shave rituals of ESPNs Kenny Mayne and a double-entendre fest supporting the endangered idea that men should shave regularly at all. In all, P&G has had a total of 82 entries on the Visible Measures chart so far in 2010, by far the leading company. Of those, 62 brand weeks were for Old Spice, 20 for Gillette. The videos have used varied concepts, tapping different actors for a variety of products and theyve come from at least four agencies or production houses. But that they all come from one business unit creates the distinct smell of formula, maybe a little like the bracing manly scent that once wafted from 30-second spots with strong copy-test scores distributed via a media plan heavily laden with gross rating points. If such a formula exists, P&G isnt fessing up. A spokesman for the mens grooming unit declined to comment. Matthew Wohl, a recent refugee from the P&G mens care viral-video hit machine, who left his post as general manager-mens shaving at P&G earlier this month to become chief marketing officer at Welchs, doesnt believe such a formula exists either-or at least hes not letting on.

I wouldnt say we cracked the code, because that code keeps changing, Mr. Wohl said. It moves so fast. I think what is important is that you stay on top of it, stay involved, stay engaged, listen to whats going on, listen to the [consumer] dialogue and react and adapt. But there are some other elements among P&G viral successes-mens care, shaving and double entendres among them. And some of those themes have been shared with such past viral hits as Clean Your Balls from Unilevers Axe, last years cheeky plays on hedge trimming by Energizers Wilkinson Sword from Europe, the 2006 Shave Everywhere campaign from Philips Norelco Bodygroom and the Shave Anywhere ads last year from Gillette. Matt Cutler, CMO of Visible Measures, which has advised P&G on upping its viral numbers, said success isnt just about men, or shaving, or personal care. After all, some of the bigger successes of the viral-video era also have included Evians Roller Babies, Blend-Tecs pureeing unlikely objects in blenders, and Dove Evolution. Creative thats engaging, surprising and doesnt answer all the questions, so it leaves room for discussion a la the Gillette-Federer William Tell with a tennis-ball ad, is a prerequisite, he said. But so is paid media, as a general rule. Yes, a good way to win with earned media is by promoting it with paid media. Fewer than 20% of videos that crack the top-10 chart begin as TV ads, a la the original Old Spice/Mustafa ad, by Mr. Cutlers estimate. But very close to 100% [of videos that make the top-10 chart] have some promotion, he said. There are very sophisticated campaigns that promote availability of these videos. Often that includes PR, touts on blogs or seeding through a marketers existing email database, Facebook or Twitter following. But more conventional paid media to promote videos is whats really injecting a degree of predictability into the seemingly unpredictability of viral success, he said. Visible Measures does pre-launch analyses of likely viewership with or without promotion and at various levels of media spending. As a general rule, more spending increases earned viewership. Though P&G mens products have dominated the list of late, success isnt really about any particular demographic, Mr. Cutler said. Indeed, one reason Old Spice and Gillette have succeeded is that many of their videos appealed to men and women alike. The whole male personal-care category has been very aggressive in earned media, Mr. Cutler said, though thats come alongside a substantial uptick in paid media. In share of choice analyses Visible Measures does looking at what brands content consumers choose to watch, Unilevers Axe dominated a year ago. Then Gillette moved up with its series of videos on shaving body hair. Then Old Spice moved in with the Mustafa videos. In the end, roughly doubling the potential audience, not surprisingly, makes a big difference. The Axe stuff tends to be pretty male-oriented, Mr. Cutler said. The Old Spice campaign is very much designed to appeal to men and women.

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Advertising Age September 20, 2010 HOW TO STOP A REBRAND, ONLY TO REBRAND AGAIN; CMO faced unique challenge when ADT acquired Broadview, formerly Brinks BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 23 Vol. 81 LENGTH: 1128 words

In January, ADT North America inherited an interesting problem: It had to stop a massive rebrand midstream and rebrand yet again. When ADT announced plans to acquire Broadview Security in January for strategic reasons, the latter had, just six months before, committed to spending $120 million over two years to shed the Brinks Home Security name and draw attention to its new moniker. Broadview, which continued to add new subscribers leading up to the acquisition, also got a boost in brand awareness from an SNL skit spoofing the companys fear mongering ads earlier this year. It was a lot to have happen in a short time on the watch of the companys first-ever chief marketing officer, Don Boerema, who joined in November 2008 from FDN, a telecommunications company in Orlando, where he was president-chief creative officer. At the time, he was tasked with identifying new market opportunities, developing new product and services, and strategic marketing. But the former senior VP-business solutions at AT&T and alumnus of PepsiCo and Procter & Gamble couldnt have anticipated this unique challenge going in. ADT moved quickly once the merger was

finalized in May. In the space of just 100 days, it updated everything from uniforms to vehicles, building signage to marketing collateral. It was a herculean effort, Mr. Boerema said. And necessary, given that ADT this month is embarking on its largest product launch. The introduction of Pulse Interactive Solutions will allow consumers to manage their home from any browser-enabled device. Customers will be able to, quite literally, turn off the lights and close the garage door from a mobile phone. A massive marketing campaign from agency of record Doner, including traditional media, social media, mobile marketing and leveraging the companys various sponsorships, will roll out this month. But dont expect to see the system marketed with screaming women and sinister-looking men, la Broadview. In an interview with Ad Age, Mr. Boerema, who reports to John Koch, president-ADT North America, residential and small business, talked about why you wont see ADT on SNL anytime soon, marketing a new type of security and how he keeps his nearly 12-year partnership with Doner on track. The integration of Broadview is, essentially, complete. What has the integration meant, from a marketing standpoint? When you put the No. 1 and No. 2 players in the marketplace together, there are a lot of things we had to go through from an integration standpoint. The exciting thing is that the cultures are very complementary. Were both focused on the customer. Its been an exciting transition; were seeing one plus one equals three on the integration. ADT is the dominant brand in our industry, with high brand awareness, and thats something that they didnt have in switching from Brinks to Broadview. They went from an established brand to a developing brand, and they were spending a lot of money on that. Broadview had committed to spend upward of $120 million on marketing in the next two to three years. Are there still plans to increase spending or will ADTs marketing budget remain the same? Were looking at the combination of both budgets. We dont have to do some of the brand things they were doing, so there are some synergies there. Overall the marketing budget will continue to increase. Were doing some things to create a new ADT, as we go into the marketplace with new products, services and new advertising. There will be a tremendous amount of activity that will be occurring in the next 60 to 90 days. ADTs parent company, Tyco International, spent $131 million on marketing last year. How much of that budget will go toward this campaign? We wouldnt share the details. But were spending tens of millions of dollars just on this campaign. How do you market something like Pulse? We have to broaden how we go to market. Social media will be a much bigger piece. TV will be a much bigger piece, because what we have to do now is not only generate the normal leads but educate the marketplace.

We put an iPhone app out there, so you can download and manage the entire Pulse solution from your iPhone. We have thousands of individuals that have already downloaded the app and said, I want to buy the solution. We havent formally introduced Pulse in the marketplace yet. But theres already a lot of momentum going on, based on social media. Are consumers sufficiently confused, having gone from Brinks to Broadview to ADT? No, actually theyre not confused. Weve done a tremendous amount of communication with our base of customers. We dont want them to get a bill from ADT and think, Why are they billing me? Im a Brinks customer or a Broadview customer. You also plan to eliminate the Broadview genre of advertising, which was infamously spoofed by SNL. Why? Everything they did and we did, we took a look at. We didnt want to be close-minded. We spent time with their agencies, reviewed their research and looked at all the different opportunities. Our research showed, and some real-life examples showed, that some of their ads had a very negative response. We actually got a lot of residual benefits from folks that would see their ads and be frustrated by them and come to us. Was there resistance among the Broadview team to losing that advertising? Obviously they were passionate about it initially. Everyone had an equal voice, and we discussed that. Maybe the SNL spoof was a happy coincidence, then, a good time to walk away from that advertising. That was a happy coincidence. It was interesting, some of the folks there were proud of it. I wasnt. Its not anything that I want to happen again. Youve been with Doner for almost 12 years. How do you ensure that you keep getting the best work and the best pricing? We do periodic reviews with them. We also have other agencies that we partner with to bring specialization in. Razorfish, for example, in the online space. Especially in this economy, procurement has become a big buzz word. As CMO, how closely do you work with procurement? Almost minute by minute. I have responsibility not only for marketing services-advertising, public relations, customer communications-but also all the product management. Obviously, when you get into the product-management area, theres a tremendous amount that we work closely with procurement on. Certain things are a commodity. You have to look at the value equation. When I look at creative minds of an agency thats our partner, what I dont want to do is go on the cheap on that. I can get somebody less expensive, but Ill get what I pay for. If Im going out to print a piece of collateral, thats very different. I can go to 15 printers and get the same piece of collateral, the same

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Advertising Age September 20, 2010 Aging shows, shakeup in management give ABC cause for concern; With revenue down and ad buyers wary, network begins fall season with challenge of recapturing its once-resurgent appeal BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 821 words

ABC needs to pull a desperate housewife out of its fall schedule. In 2004, after suffering a drop in upfront ad sales thanks to an overdependence on game show Who Wants to Be a Millionaire, ABC greenlit Lost and Desperate Housewives, which fueled its resurgence. This fall, ABCs hoping for a similar jolt. The network has grown reliant on a group of aging stalwarts and that has ad buyers concerned. How bad has it gotten? Even ratings-challenged NBC, no longer so far behind ABC in terms of performance, has been taking potshots. For the 2009-2010 prime-time broadcast season, ABC saw its average viewership come in third, behind CBS and Fox, according to Nielsen. More crucial, perhaps, is its viewership in the demographic coveted by advertisers-people between the ages of 18 and 49. ABC nabbed an average of 2.692 million viewers, Nielsen said, while NBC, boosted by its

broadcasts of the Winter Olympics, captured an average of 2.686 million viewers between 18 and 49-not too far apart. Couple that with ABCs recent spate of executive turnover-ABC news chief David Westin has indicated he will leave by the end of 2010, and the network has parted ways with both Stephen McPherson, the man who devised its new fall schedule, and Michael Benson, one of the executives who was supposed to market its new shows to the masses-and it will be a year of rebuilding. Their tentpole shows are indeed aging, said Don Seaman, VP-director of communications analysis at Havas media-buying firm MPG. He suggests the younger shows that have potential will need strong sampling to gain a foothold among younger viewers. Otherwise you might be looking at a longer reclamation project for the Alphabet network, he said. Producing better-watched programming is crucial to ABCs success. ABC has seen its upfront sales decline in recent years, according to recent estimates from Fitch Ratings. The Disney net once marched in lockstep with the arguably more stable CBS, securing about $2.5 billion in ad commitments for the 2008-2009 TV season. This year, ABC was only able to notch around $2.2 billion, according to Fitch, after falling to $2.1 billion in 2009. Meantime, lesser-ranked NBC and better-rated Fox increased their smaller totals year over year. This comes after ABC, like all the other broadcast networks, saw overall ad revenue drop in recession-plagued 2009 by 2.1%, to about $5.06 billion from $5.17 billion, according to Kantar Media. (ABCs decline was less than that experienced by any other broadcast rival that year.) ABC executives are very enthusiastic and very positive about the fall, said Geri Wang, presidentsales and marketing at ABC. She has seen high demand from advertisers for the networks older shows and noted that pricing for so-called scatter advertising, or ads purchased closer to air date, is running significantly higher than that charged during the upfront. Things seem to be on a slight rebound in 2010: The network has taken in about $3.1 billion in ad revenue during the first seven months of the year, compared with about $3.01 billion in the same period a year earlier, per Kantar. But while buyers cheer returning fare such as Dancing with the Stars, they remain cautious about ABCs new fall slate. Some of the shows in which they see the most potential are scheduled against serious challengers on rival networks. The gritty cop show Detroit 1-8-7 will compete with CBSs The Good Wife Tuesdays at 10 p.m. Likewise, the family-friendly superhero drama No Ordinary Family would have to do battle with Foxs Glee and American Idol, CBSs NCIS and NBCs The Biggest Loser on Tuesdays at 8 p.m. One potential breakout: A show called My Generation, a faux documentary-style program that purports to follow a group from Austin, Texas, when they graduate in 2000 and again a decade later. Buyers say the program is unorthodox, but that quality could help it stand apart from the usual slate of police dramas and sitcoms that populate the TV grid. Dont expect ratings to grow for Desperate Housewives and Greys Anatomy. But if ABC can

maintain those shows audiences, grow last years breakout hit Modern Family and develop one or two new hits, youre having a completely different conversation, said Todd Gordon, senior VPdirector of broadcast at Interpublic Groups Initiative. To steer that conversation, the network is counting on Paul Lee, an executive who enjoyed a great run at sister cable outlet ABC Family and replaced Mr. McPherson. His decisions may not be felt until the season is well into its second half. Meanwhile, new TV seasons are fraught with failure-executives will tell you that 80% of new programs fail-and ABC asserts that if theres one constant, its change. Everyones schedule is constantly being fine-tuned, said Ms. Wang. Its a constant in the business. We take off whats not working and were always looking to improve the schedule. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 AGENCY NEWS; Account action SECTION: Pg. 5 Vol. 81 LENGTH: 523 words

FALL OPENS UP WITH MORE THAN $2 BILLION IN MEDIA AND CREATIVE ACCOUNT MOVES After what many agency executives described as a relatively quiet summer on the new-business front,

the fall is shaping up to be a season full of activity-and high-priced activity at that. In just this past week-and-a-half, MasterCard, Advil, Red Bull, GlaxoSmithKline, 7Up, Olive Garden, Red Lobster and Dell have either shifted or put into review more than $2 billion in media and creative accounts. MASTERCARD UNITES ACCOUNTS AT INTERPUBLIC BY SHIFTING MEDIA DUTIES TO UNIVERSAL MCCANN After 15 years with Omnicom Groups GSD&M Idea City, the credit-card giant consolidated its U.S. media-planning and buying business with Interpublic Group of Cos. Universal McCann. The shift united MasterCards creative, media, PR and digital accounts under the Interpublic umbrella. AD AGE AGENCY OF THE YEAR MCGARRYBOWEN STRIKES AGAIN, NABS DR P ON HEELS OF ADVIL McGarryBowen, one of the hottest shops on the new-business front, snagged creative duties for Pfizer pain-reliever brand Advils $80 million advertising account. WPP-owned Grey was the incumbent. The following week, Dr Pepper Snapple Group ended a 40-year relationship with WPPs Y&R, San Francisco, which moved creative duties to McGarryBowen without a review. RED BULL GIVES WINGS TO CARAT, AWARDS AEGIS ITS $50M U.S. MEDIA ACCOUNT Red Bull, the marketer that leads the nearly $3 billion energy-drink category, wrapped a review that saw its $50 million U.S. media duties shift to Aegis Carat. Independent shop Siltanen & Partners was the incumbent on the account. PHARMA GIANT GSK LAUNCHES MEGA MEDIA REVIEW FOLLOWING EUROPEAN MOVE TO STARCOM The pharmaceutical giant put its $1.4 billion U.S. media-planning and -buying account, currently handled by WPPs MediaCom, up for grabs. Its the first time GSK has reviewed the U.S. portion of its advertising account in nearly a decade, and follows a recent European media review in which GSK shifted some assignments away from MediaCom to Publicis Groupes Starcom in markets including Germany, Austria, Switzerland, Spain and Portugal. PASS THE CHEDDAR BAY BISCUITS: DARDENS RED LOBSTER & SIBS LAUNCH $300 MEDIA REVIEW Darden Restaurants announced last week that it was putting its Red Lobster, Olive Garden and LongHorn Steakhouse media accounts, which are managed by a number of different shops and total nearly $300 million, into review. The company recently wrapped up a review for creative duties on its $120 million Red Lobster creative account, which landed at Grey. DELLS EYE WANDERS FROM WPP AS IT NEARS THREE-YEAR MARK ON AD ACCOUNT Three years after the high-profile Dell/Enfatico relationship that parked the $4.5 billion account at WPP, the tech giant announced it was going to be looking elsewhere for creative chores on its consumer, small, medium and public businesses. Were doing this because we think its appropriate

to continuously review our creative and weve previously talked about working outside of WPP, said Dell spokesman David Frink. The business under review is understood to be handled by WPPs Y&R, San Francisco, as well as Wunderman. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 ENCOURAGING INDIVIDUALITY KEEPS BGT STAFF LOCKED IN; Few employees ever leave this agency, thanks to an emphasis on personal growth, sharing knowledge and experience, and great benefits BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 13 Vol. 81 LENGTH: 414 words

BGT partners may not be the first job for its employees, but for many it is the last. The Miamiheadquartered interactive marketing agency has the mantra Trade your job for a career-and maintains a nearly 100% retention rate. Were usually not the first or even second agency theyve worked at, said David Clarke, cofounder and managing partner at BGT. We have a more mature and experienced staff that has seen how other agencies work. Its not about the millions of dollars, its about customer satisfaction and employee satisfaction.

The agency has a flat management structure and open offices to encourage sharing of experience and knowledge. Any employee with a good idea is encouraged to speak up, and doing so can result in things such as a new job being created, a spot bonus, and/or salary increase for creativity and innovation. The entire team wants everyone to succeed, said Tara McGrath, director-professional services for BGT Chicago. Strategist Adam Nussdorfer agreed, adding, BGT encourages you to take your own initiative. If you find something you are passionate about, theyll give you everything you need to pursue it. The staff of 150 is made up of employees from around the world-at least 25 countries-and adds diversity to the culture and ideation process. The diversity of the client portfolio with so many interesting clients is another plus to working at BGT, said Mr. Nussdorfer. Teams travel back and forth from the bigger office in Miami to the smaller and newer one in Chicago, sharing enthusiasm and talent. The client teams on specific accounts are assembled with a mix of developers, production people and strategists at the beginning of a project. Andrea Fishman, partnerVP of global strategy, said, Its never a design team that hands off a project to another team. Everyone is involved from the beginning. Art Expo Fridays are a favorite creative gathering for staffers. The weekly free lunch and a show feature bands, singers, artists and the other talents of employees performing for their peers. Other lunches feature professional-development and educational programs by staffers. BGT has given bonuses and raises every year since 1996, and covers health care and insurance 100%, Mr. Clarke said. When people can come to work and know theyre getting tuition reimbursement or health care and life insurance, especially in times like these, it makes them more productive because theyre not spending time worrying about it, Ms. Fishman said. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 EVERYONE AND NO ONE IS CREATIVE AT BIG SPACESHIP; All have ability to contribute to any and every project at the Brooklyn agency, rendering titles that pigeonhole employees meaningless BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 14 Vol. 81 LENGTH: 394 words

Digital creative agency Big Spaceship doesnt have a single person on staff with the word creative in their title. Thats because everyone is. The freedom to contribute to any and every project and idea at the agency-from intern to CEO-tops the employee list of why they love working at the Brooklyn-based agency. General Manager Jason Prohaska calls it unilateral autonomy. Chris Cocca, senior strategist, put it this way: Everyone here has actively contributed to a million ideas that have turned into great projects. And that may or may not be hyperbole. Because a million doesnt seem far off when Big Spaceship employees start talking: All of its 50 or so employees are encouraged to create and pursue passion projects at work that have ranged from stop-motion moviemaking to screen printing to origami. They also teach each other their skills formally, in designated agency sessions, or informally on a one-to-one basis, whether thats computer coding or design. Each of the six teams at the agency have created their own names, identities, logos and, in some cases, theme songs. Summer Fridays are called IP Fridays at Big Spaceship where everyone spends half a day working on the agencys own projects. There is a key recognition that people are here because they want to make great things, said CEO Michael Lebowitz. In order to make the best work, you have to work in the best place. He credits the team system in helping to create a culture of cross-pollinated talents and good friends. If all the designers sit together, you get a culture of departments. And departments, in my mind, lead to fractiousness, Mr. Lebowitz said. The six agency teams are also not built around clients, but rather stay together as cross-disciplinary units, with the ability to lend out individuals to other teams when needed, and they travel from project to project. At least one person from each of its key disciplines-design, technology, strategy and production-are on each team.

All that typical digital agency stuff like foosball tables or kegs every day or a masseuse or who knows what; all that stuff is nice and cool and one of the perks to this industry to begin with, said Jamie Kosoy, associate tech director. But you could take all that stuff away and I still think Big Spaceship would be the coolest place to work. Its something else. Its an ethos. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 PR BEHEMOTH EDELMAN KEEPS CULTURE CONSISTENT; With offices around the globe, the company employs thousands but manages to keep all united in a singular goal of exemplary client service BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 16 Vol. 81 LENGTH: 386 words

With well over 3,000 employees in more than 50 countries around the globe, maintaining a consistent culture and innovative workplace would seem difficult, if not impossible, for Edelman, a large, independent public-relations agency. But Edelman employees dont seem to know that. It doesnt matter what level of the organization youre in, if you have the best idea, the best idea wins, said Conroy Boxhill, VP in the corporate and public-affairs practice. Were also always being encouraged to take risks. That comes from Richard (Edelman, CEO), but it trickles down to every level.

Mr. Edelman, in fact, is another plus, employees said. Recently named one of the 10 most popular bosses in America by online career community Glassdoor, respect and admiration for him and his founding family, and the family atmosphere that it fosters, permeate the organization. Lisa Levandowski, senior account supervisor, noted that last year at the Leadership Academy, an annual confab of selected employees, she not only networked with global colleagues, but also went to the home of founder Daniel Edelman (Richards father) for cocktails and conversation. She listed mentors, the emphasis on education, technology innovation and tools, and transparency from top to bottom as some of the reasons she enjoys working at Edelman. She is also about to take part in her current favorite perk and one of Edelmans newest programs, called the Edelman Fellows, in which a handful of executives will go to work in various global offices for about 18 months. Employees are also recognized and rewarded formally for creativity and innovation. The Edelman Quality Awards are given to seven individuals each year for exemplary client service, an innovative initiative and for setting the standard for quality at the firm. The Eddy Awards recognize six employees for consistent effort in advancing the caliber of Edelmans work. Kristine Boyden, exec VP-global client relations manager, has a unique perspective on Edelman, as she joined through an acquisition of tech-specialty agency A&R Partners four years ago. You can see a future here. There is a challenging environment for everyone, a strong belief in and by the management team, and you feel supported every day in the way you serve the client. Were all in it together, she said. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 BEHIND ADS FRIVOLITY, GO DADDY IS SERIOUS BUSINESS; A work-hard, play-hard

environment characterizes the domain registrar, a marketer that invests in its employees to yield the best work BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 16 Vol. 81 LENGTH: 384 words

If you only know about domain registrar Go Daddy from its Super Bowl commercials and controversies, you might mistakenly think its employees are more likely to post pin-up calendars and hold keg parties than join culture committees and brag about the companys annual Tech Fest and generous health and vacation benefits. Yet the latter is exactly what Go Daddy employees do. Most of the people at Go Daddy are very customer-focused and innovative, and think outside the box. I myself like to move around and try different things, and theyre very open to that. The company likes to promote from within, said Marianne Curran, exec VP-media and communications, who is an eight-year veteran of Go Daddy and also heads up the culture team. Indeed, in the first half of 2009, more than 260 employees were promoted to new positions; employees who refer new hires receive bonuses of $500 to $1,000. Go Daddy, with more than 2,700 employees and offices in Iowa and Colorado and headquarters in Scottsdale, Ariz., is a work-hard, play-hard environment, said Barry Satterfield, creative directormarketing. He credits the cultural flexibility and freedom that employees are given as key to not only Go Daddys marketing success, but also their career satisfaction. We all feel that they invest back in us as employees, he said. A recent Bob Parsons video-blog post titled Why you should quit your job offered a glimpse of the CEO-founders workplace. In the video, he says that you shouldnt actually quit your job, but rather, after eight to 10 hours on the job, you should do things like go out and have some fun, exercise, find a hobby and get a good nights sleep-all in the name of recharging and being more creative and productive when you are at work, he explained. Some of the perks that the employees enjoy include fully paid health benefits, ample vacation time (six weeks after five years), smartphone reimbursement, and prize giveaways at annual retreats and company get-togethers. Managers are also given $50 per month per employee for team building, generally with little restrictions. Teams have gone whitewater rafting, skydiving, skiing and on spa day trips. Go Daddy helped out during the Iowa floods of 2008 (while fellow employees in Colorado and Arizona volunteered extra time to back them up).

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Advertising Age September 20, 2010 BEST PLACES TO WORK; Freedom to move, think, create and communicate define the 30 agencies, marketing companies and media firms on our inaugural list of the best industry employers BYLINE: JENNIFER ROONEY; JROONEY@ADAGE.COM SECTION: Pg. 12 Vol. 81 LENGTH: 563 words

The recession of the past few years has forced great challenges upon the employed and unemployed alike in the media, marketing and advertising industry, as the jobless hunt relentlessly for new opportunities and many of the employed, fearing pink slips, find themselves locked into jobs that offer little or no career growth, flexibility or psychic income. But despite or even in light of economic challenges, there are companies that are thriving in their commitments to their employees and to their work. They are workplaces that cultivate camaraderie, reward creativity and spur innovation. Theyre winning accounts, customers and talent eager to contribute to organizations they believe in. And those are the Best Places to Work in Marketing & Media. This list, Advertising Ages first, is a celebration of the 30 employers in the marketing, media and advertising industry that have created environments in which people love to work and contribute their best ideas. Identifying and recognizing these employers is a joint effort of Advertising Age and Best Companies Group, a firm

that conducts best places to work programs across the country. The Best Places to Work in Marketing & Media program was open to all publicly or privately held advertising agencies, media organizations and companies with marketing operations of more than 25 employees. Each applicant must have had at least 25 employees working in the United States to be eligible. BCG managed the registration process, conducted a two-part survey process, evaluated data and ultimately chose the companies that were good enough to make the list. The deadline to sign up for the program was April 30. Part one of the assessment (three-quarters of each companys score) involved a confidential 76question survey that was used to evaluate the employees workplace experience and company culture. Part two of the assessment (one-quarter of each companys score) consisted of a questionnaire used to collect information about each companys benefits, policies, practices and other general information. The combined sets of data enabled BCG reviewers to conduct an in-depth analysis of each companys strengths and offerings. Program participation was free; each organization had the opportunity to purchase a report summarizing the employee data collected through the employee survey process. In addition to the employee-opinion data, the report also included transcribed employee-written comments, as well as the marketing and media industry benchmarking data from the participating and winning companies. The 30 companies presented here, listed alphabetically-and we profiled 10 of them-are indeed innovators, arguably benchmarks against which other employers can measure themselves. These companies simultaneously nurture employees, clients and their communities with things like diversity programs, family-friendly benefits, education reimbursement and workspaces designed to stimulate creativity. There will be names in this list that you are familiar with, and names youve never heard of. Theyre based in New York, San Francisco and everywhere in between. Some are large, with multiple locations, and others are small, single-office shops. But they all have one thing in common: Theyre committed to being the top employers in this industry. Thank you, participants, and congratulations to our 30 best places to work. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; BGT PARTNERS SECTION: Pg. 13 Vol. 81 LENGTH: 80 words

LOCATION: Headquartered in Miami, with offices in Chicago, Los Angeles and New York EMPLOYEES: 150 GIVING BACK: Donates $1 to Susan G. Komen for the Cure for every new Facebook like of the agency. Also partners with Junior Achievement and donates to causes including Special Olympics, Chicago Cares, Revlon Walk for Women, March of Dimes and the Michael J. Fox Foundation. Recently instituted an environmentally friendly office infrastruture to reduce the agencys carbon footprint. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010

Best Places To Work; BIG SPACESHIP SECTION: Pg. 14 Vol. 81 LENGTH: 64 words

LOCATION: Brooklyn, N.Y. EMPLOYEES: 50 GIVING BACK: Charitable contributions are made based on staff input regarding whats valuable or personal to them, and has included donating office furniture and participating in NY Cares Coat Drives. A green committee was created to reduce the impact of work activities, and includes such things as recycling and supplying reusable plates and cutlery. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Ad probe spotlights murky media practices in China; Hot competition, broad expansion and high stakes fuel illicit trading deals in $45B ad market BYLINE: NORMANDY MADDEN; NMADDEN@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 936 words

A scandal unfolding in China that involves kickbacks, money laundering and prostitution at a five-star hotel in has set off a firestorm in the countrys ad industry-but more broadly is shining a light on the unusual media relationships that often foster media corruption in the country, one of the worlds most promising ad markets. At the center of the investigation is Zheng Zhixiang, who works for media-brokerage firm Chongqing Huayu. He is accused of laundering money through a brothel in the basement bar of a Hilton Hotel in Chongqing. Because Mr. Zheng was a broker for Publicis in Chongqing, a paper trail in a government investigation led to a pair of prominent agency executives: Vivakis China CEO Warren Hui and his colleague, Ye Pengtao. Two weeks ago, government investigators detained Messrs. Hui and Ye for extensive questioning about their involvement with Mr. Zheng. The two execs have not been charged with anything and Mr. Zhengs Huayu media brokerage worked with other agencies too, not just Vivaki. Vivaki Exchange buys media for Publicis Groupes media divisions like Digitas, Starcom MediaVest Group and ZenithOptimedia. Other Vivaki executives are handling daily China operations, and contrary to local news reports, the two men have not been fired. Vivakis chairman for Greater China, Beijing-based Yifei Li, referred questions to the agencys PR firm in China, MS&L, another Publicis division. They are still with the company. We know there is a police investigation but when we try to get more information, we cant, because [Vivaki] is not directly involved, said Benjamin Tan, managing director, MS&L, Shanghai. We dont know what happened, so we dont want to make a decision [about their future]. Details aside, media corruption has been a not-particularly-well-kept secret in China for years, and companies, not just individuals, are involved. Industry execs estimate more than half of the revenue earned by multinational media agencies in China comes from media owners rather than clients budgets. Thats corporate corruption, not personal corruption, said a media industry veteran in Shanghai. In China most multinational media agencies buy media through sub-contractors (in this case, Mr. Zhengs Huayu) in a complicated system that resembles banks and commodities brokers who make money on margins. One of the perks of using brokers is their ability to store cash earned from rebates and discounts far from the prying eyes of industry auditors, tax authorities and clients. An advertisers media budget commonly gets chipped away at several points before it ends up with a TV station, outdoor media vendor or publisher, starting with the initial media negotiation, followed by a scheduling discussion and then the final deal for payment terms. Media buyers, brokers and owners often make private arrangements that are seldom reported back to the advertiser. Individuals and agencies pocket the difference. No one can stop these individual deals, because you cant be with people 24 hours per day and control what happens under the table, literally, at a restaurant after a deal is done, said a media expert in Shanghai. The scandal Vivaki is embroiled in has placed an unwelcome spotlight on that practice and is bad for the industry. It creates mistrust between agencies and clients, said Quinn Taw, a venture

capitalist in Beijing who has worked at GroupM, Zenith Media and China Media Exchange, or CMX, the former name of Vivaki Exchange before a rebranding in January 2010. Advertisers will start looking at rebates and conducting quiet audits. They should look at their media business, but they should also look internally, Mr. Taw said. Some suggest that across China media directors and brand managers at multinational companies could be padding personal bank accounts as well. As executives at multinational marketers get savvier about China and better understand the risks involved, they are putting in place checks and controls to regulate their media cash flow. Some companies like Procter & Gamble Co. and Coca-Cola Co. are taking strong initiatives to take efforts to prevent this by engaging in three-way negotiations, said Greg Paull, a Beijing-based principal at R3, a consultancy that specializes in agency-client relationships. To be effective [as a client] you need to have a seat at the table. But marketers still find it hard to pull the plug on illicit trading deals for several reasons: China is becoming more competitive as well as more fragmented with the rise in digital media, driving buyers and sellers to further bend the rules. As there are more options for spending ad dollars, sellers get more creative about kickbacks and other incentives they can offer to agencies. These sorts of things didnt happen 20 years ago when there was only [state-owned national TV network] CCTV to deal with. The problem is that the media sector is getting bigger and more competitive, so there is more pressure on media venders to look for competitive edges, said Mr. Paul. Further, marketers are moving more deeply into Chinas harder-to-police second, third and fourth-tier cities, where transparency issues are even murkier than in Shanghai and Beijing. Chongqing, for instance, has a population of more than 5 million in the city itself and over 30 million in the greater urban area, and is considered a second-tier city. Finally, enormous amounts of money are pouring into Chinese media. Measured media spending in China will reach $45.1 billion in 2010, according to GroupM, a 16% increase over last year, and is likely to hit $49.9 billion in 2011. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; THE CONCEPT FARM SECTION: Pg. 14 Vol. 81 LENGTH: 70 words

LOCATION: New York EMPLOYEES: 48 GIVING BACK: The Concept Farm works on a discounted basis with organizations such as Greenpeace, The American Heart Association, The United Nations Environment Programme and the National Womens Law Center (NWLC). We work a crazy amount of hours in this business, so it can be hard to give back outside the office, Mr. Weintraub said. What a pleasure to be able to give back in the office. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010

CREATIVE EXODUS IN ADLAND: ITS JUST NOT FUN ANYMORE; Graf, Montague, Bogusky, Hirshberg -a parade of top talent departs big agencies, or the industry altogether BYLINE: MATTHEW CREAMER SECTION: Pg. 1 Vol. 81 LENGTH: 2518 words

Late one night about three weeks ago, Gerry Graf had a bit of a freak-out. The highly respected and much-awarded creative director had left a fat-salaried, high-profile job at a very large ad agency for the vagaries of the startup life and he was, understandably, feeling edgy. The next day he phoned up David Droga, who had taken a similar risk four years ago, and went over to Droga5s New York office on Lafayette Street, which now hosts 120 people serving a client list that includes Puma, Unilever and Microsoft. Mr. Drogas advice for Mr. Graf went something like this: Not all the stars will line up at once, you dont need a wacky point of view, get yourself a strong business partner and dont pitch unless you get paid. In other words, as Mr. Droga put it to me in an interview recalling the meeting, Youre nobodys bitch. That might as well be the ad business motto in 2010. Since the beginning of the year, a veritable Cannes jury worth of senior creative talent has shrugged off the leashes of big agency networks for their own startups or for creative pursuits outside the ad industry. A month before Mr. Grafs news broke, Ty Montague and co-CEO Rosemarie Ryan announced their departure from JWTs North American office and later started a collaborative brand studio dubbed Co. In July, Alex Bogusky told the world he was leaving MDC Partners to do whatever it is hes doing. Meanwhile, Eric Hirshberg ended a highly successful run at Deutsch, L.A., to go into the video-game industry. And just this month, Eric Silver left DDB, New York, to buy a majority stake in a small agency. Longtime agency watchers will say this kind of churn has always been part of agency life, but to dismiss the trend as part of some cycle is ignoring some key questions that agencies need to answer. After all, the pressure on these companies business model is intense. While the economic gloom might be lifting, for most it still lingers and, besides that, agencies are getting hit from all sides: Costcutting, conservative clients; procurement officers; more competition from small and midsize shops; newfangled concepts such as crowdsourcing agencies; and a business model still very reliant on the production of ads, not ideas. I cant quantify this, but I have a strong feeling that the business is getting harder, said Kevin Roddy, chief creative officer at BBH, New York. Clients dont strongly believe were capable of doing things that they cant, and theyre more inclined to view us as vendors rather than partners. The result is that big agencies arent the most hospitable place for the creative mind, but, then again,

they never really have been. Thats why Mad Men makes all those jokes at the expense of Grey and its ilk, depicted as places to cash in your chips and lounge with models, or perhaps with all the retarded people said to work at McCann. The difference now is that the paychecks and the profile arent making up for the deficiencies as incubators of breakthrough commercial ideas. And its getting more difficult to retain the big names who can do the thousand things that now make up the role of creative management. THE NEW REALITY You cant, of course, talk about this stuff without talking about the economy. Last year was brutal for ad agencies, with the worlds 10 largest suffering significant-in some cases double-digit-declines in revenue, according to the Ad Age Datacenter. Psychologically, it was a bottoming-out, a period in which people were either just happy to have a job or too busy firing other people to quit. In 2010, reports of a recovery have been, in the best case, mildly exaggerated, and in the worst contradicted entirely by fears that the economy is once again slipping. Jobs havent come back and neither has consumer spending, so marketers are being conservative. You can see this in a number of trends: the decline of secure agency-of-record relationships and the consequent rise of looser arrangements that see clients parcel out work to a large group of agencies forced to compete for project work; the proliferation of specialist shops expert in one discipline, especially true in digital marketing; marketers willingness to experiment with nonagency solutions like crowdsourcing. One agency CEO, who remained anonymous for fear of jettisoning all revenue from his company, put it like this: Hal Riney and Phil Dusenberry were treated differently. Business then was much more civil and respectful. Now we work in an incredibly disrespectful environment. Clients are know-itall assholes, with the exceptions being few and far between. Theres a lot of greed operating under the guise of ideas like efficiency and creating shareholder value and that grinds away at character. I asked Mr. Roddy what all this does to your typical hyper-talented creative manager. Creativity used to be put on a pedestal, and I dont think thats the case anymore, he said. Creative people have become more of a commodity, and I think that takes the wind out of them. The creative ego is a very important thing, because it drives talent. But its also a very fragile thing. Mr. Graf might be the best example of this struggle. Known around the business as a relentlessly innovative creator who, as one executive put it, doesnt want to play the game, Mr. Graf has, in a long career thats spanned Goodby Silverstein, BBDO, TBWA and most recently Saatchi & Saatchi, racked up plenty of breakthrough ideas, among them stunning work for brands such as Snickers and Skittles. Thats not easy. He came out of his Saatchi experience with the realization that, Id just rather be making stuff. With that, its not surprising that Mr. Graf isnt now armed with a complex new model or anything approaching one (though he is interested in exploring new compensation models and intellectualproperty arrangements where it makes sense). We live in a time when the best idea wins, and scale doesnt matter much to the idea. To that end, his new shop,Barton F. Graf 9000 (a reference to his father and to a weapon from the video game Doom, the BFG9000), due later this year, will strive

for agency-of-record relationships and also do consulting and writing projects. Roger Camp, whos earned his fair share of hardware-including more British D&AD awards than any other American art director-is leaving his chief creative officer post at Publicis Hal Riney on Oct. 1. I did a couple of interviews at big places for jobs which are conceivably some of the best out there, and I left feeling like thats not really what I want. By all accounts, I should have been over the moon, and I wasnt. Those big-agency jobs were already defined, and Im looking to define the thing I want rather than fit someone elses mold of whats already been established. Mr. Camp said thats the reason hes not the only one running for the exit door. People are looking to create new models, and thats easier to do than taking existing structures and trying to reshape them. For the unhappy creative mind still toiling in a big agency, there are two choices: You can either, in Freudian terms, sublimate that ego or, in Lebronian lingo, you can take your talents elsewhere. These days, theres a not-insignificant amount of funding chasing innovative agency models. One example is Jon Bond, a cofounder of Kirshenbaum Bond & Partners who recently left the shop and now has a $100 million fund to invest in agencies. Then there are more traditional sources, such as holding companies like WPP, Omnicom and MDC, known to be out scouting for new models. MDC, the owner of Mr. Bonds old shop, has even started a contest that will award $1 million for the best new agency concept, in which itll hold a 51% stake. The set of choices for agencies that need strong creative managers might be a bit smaller, stuck as they are between job requirements that appear to be in opposition. On one hand, agencies need the flash that a heavily awarded, famous chief creative officer can provide. On the other, theres the need for someone who wants to take on the many, many responsibilities that come with running a large creative department servicing big international clients. Generally speaking, people dont become copywriters or art directors because they want to someday sit in an endless rotation of endless meetings, hopscotch from airport to airport, handle clients, manage a profit-and-loss statement and only touch the work when its time to put it on an awards submission reel. Those people got into the business because they want to make stuff. When Ad Age reported that Eric Silver was leaving the New York office of DDB to take a majority stake in the 34-person Amalgamated, Mr. Silver had this to say: I wasnt having that much fun at my last job, and when youre not having fun, youre not doing your best work. He added: As you climb the corporate ladder, its easy to lose sight of why you got into the industry to start, and this is as excited as Ive felt in a long time. By now-and certainly after the news of the past few months that suggests a kind of burnout is going on-its becoming clear that agencies cant go on with the same job description. Theres a balance between hiring a star-the kickass creative director everyones talking about-and hiring someone whos ready for life in the big agencies, said Anne-Marie Marcus, CEO and owner of the recruiting firm Marcus St. Jean. Too often, that is not the life these guys want. Big clients, a lot of meetings, not a lot of fun. This is not like working at Cliff Freeman. These are serious jobs. Ms. Marcus big piece of advice for agencies is that agencies decide whether they want someone who can be easily plugged into an existing culture or someone theyre willing to build around. In the latter

case, its about using them for what they do and surrounding them with the right support system. And thats not an easy task when so often one of the jobs of a big creative hire is to come in and quickly turn around a massive agency or, at the very least, its creative reputation. If agencies were easy to change, these guys-or their roles-wouldnt be necessary. Another big question sitting before agencies is whether some of these roles have gotten too big for a single person to handle. Said Mr. Roddy, It depends on the individual. Smart ones surround themselves with smart people who do the things they cant or dont have time for. The thing about creative management is that youve gotta let go and not try to do it all yourself. By all accounts, agencies are not finding it easy to replace those who have left, with some searches going on for months and months. There are many reasons for this, from a paucity of good candidates to more practical realities, not least the housing-market collapse making it difficult for people who would need to move to take on a new role. While Saatchi quickly named a replacement for Mr. Graf, searches are still going on at JWT, McCann, Deutsch and Euro RSCG. Colleen DeCourcy, who left her role as chief digital officer of TBWA in July and now has funding to start a shop, said shes received a few calls for various creative jobs, for which, she freely acknowledges, she is not qualified. Ive never made a TV spot in my life. She has, however, strategized any number of digital programs, experience thats increasingly in demand and related to an important trend: the rise of specialists. The vast increase in the number of channels available to reach consumers means that no one agency can master all, opening the doors for experts dedicated to any number of disciplines, from mobile and application development to branded content to crowdsourcing to word-of mouth. The model unveiled last week by Mr. Montague and Ms. Ryan is in part an attempt to foster and manage that collaboration for clients, and you can bet Ms. DeCourcys shop will take advantage of what she called the many gaps in the market. A FULL BREAK Different from the mindset of the creative director who decides to go smaller is that of the one who leaves the business altogether. Cue Eric Hirshberg, a rare ad creative who has successfully moved on to a parallel creative industry-in this case, the video-game business. In an interview, he said his decision to become CEO of Activision Publishing was a tough one, even though its a dream job for a gamer. Mr. Hirshberg was very insistent that his move did not come from dissatisfaction with the agency business but, at the same time, he spoke admiringly of some of the disruptions going on in the market. This is not a comment on Deutsch or Interpublic, but the startup trend is great because it recognizes that, at its heart, this is a boutique business based on creative personalities. The holding-company model naturally tries to mechanize and systemize things. Agencies need to continue to be boutiques. I think that is one of the reasons Deutsch L.A. has always thrived. We were always allowed to be us. Mr. Hirshberg gives no quarter to suggestions that the adagency business has gotten too rough. Advertising can be a fatiguing way to go through the world. Its a high-stress, high-intensity path, but its always been like that. To me, changes to the business model or economy havent changed that.

The challenge has always been to get a great piece of work through the labyrinth. Thats hard, and rewarding, but nothing new. That might be true, but for the up-and-comers who are the ad business future, it also might not be especially relevant. I recently had separate chats with two ad guys in their 20s who have good strategic jobs that keep them close to the work at growing digitally-focused shops with full client lists and strong case studies. These are smart, ambitious thinkers with the right understanding of where the business needs to go. Each has already flirted with the idea of taking important roles at big agencies and the future will probably be relatively kind to them, but instead of focusing on that, they echo the same complaints associated with these senior folks: the limits of client-service models, difficulty to find the time or buy-in for innovation. Neither can really imagine long careers in this or any other client-service business-not when there are Facebooks to be built. Platform and product-development is where its at in their minds, the kind of work that allows you to make money while asleep. And advertising will pay the bills until the right idea-and the right deal with the right backer-comes along. This, of course, might be idle kvetching that falls squarely into the category of first-world problems-what the Urban Dictionary defines as problems from living in a wealthy, industrialized nation that Third-Worlders would probably roll their eyes at. Or it might be the beginning of a cascade of decisions that will lead them to go the route of an Alex Bogusky, whose oft-told tale does not need to appear here. His recent change to his Twitter bio says it all: I worked in advertising for 20-plus years. That was fun. Still enjoy culture jamming. CONTRIBUTING: RUPAL PAREKH LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

September 20, 2010 Best Places To Work; EDELMAN SECTION: Pg. 16 Vol. 81 LENGTH: 83 words

LOCATION: Co-headquartered in New York and Chicago; 52 offices worldwide EMPLOYEES: 3,300 GIVING BACK: Contributed about $300,000 to specific organizations, as well as significant staff time to a variety of causes. Community-service initiatives are handled on an office-by-office basis, and each U.S. Edelman office provides pro-bono support to local and national institutions. For example, the San Francisco office works with the Bay Area Council to provide research, brand strategy and visual identity. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 HOW YOUR LIKES ARE TURNING FACEBOOK INTO THE LOYALTY CARD OF THE INTERNET; Brands such as Levis, Urban Outfitters are using the clicks of approval to tailor marketing, but will they scare consumers? BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM

SECTION: Pg. 4 Vol. 81 LENGTH: 733 words

Facebook has been collecting thumbs up on everything from Levis black denim leggings to Sarah Palin videos since April. But where do all those clicks of approval go? And when are brands going to benefit? When the social network launched its open graph and like buttons that could be seeded anywhere across the internet, it began to layer brand and media preferences onto its more than half-billion user profiles. At the time of the announcement, Facebook CEO Mark Zuckerberg evangelized about a web that could morph to suit individual users likes and social networks. In exchange for hosting its like buttons and spreading the gospel, brands and publishers could gain access to approving users Facebook feeds, but not much else-until recently. Now, some new programs from the likes of shopping search engine TheFind and Urban Outfitters point to a future where brands can actually flip the pipe to use all that data to personalize their own websites. TheFind recently launched a search option where users could refine searches based on stores and brands theyve liked elsewhere on the internet. After logging in with Facebook credentials and searching for products, users can visit a Shop Like Me tab to see results only from stores or brands theyve liked elsewhere. Facebook Like lets the site tailor search results to user preferences without having to collect that information itself, said Siva Kumar, CEO of TheFind, which had 13.7 million unique visitors in July, according to ComScore. Having users list their own preferences at TheFind is a lot of work for people, he said. We looked at likes and what was attractive is that there are 500 million users that have done a lot of that already. Two million of Facebooks users, for example, have liked Nike, 1.6 million have liked Walmart and 1.2 million have liked Best Buy. Facebook is becoming the loyalty card of the internet, just like your key chain, said Tom Wentworth, VP-web solutions for technology company Ektron, which is developing products for corporate websites to tailor visits based on the users social graph. Mr. Wentworth says Home Depot is considering Ektrons technology to better send its consumers down the paths that suit their interests, whether they be gardening or contracting. Levi Strauss integrated Facebook likes into its website shortly after the open graph launched. Rather than having consumers simply like the brand, users can like individual products and styles on jeans. Theres also a friends search tab, where, once signed in with your Facebook login, you can see all the jeans your friends have liked. But Mr. Zuckerbergs vision of a personal web doesnt come without hurdles. Levis likes for individual products took a lot of custom-designed technological tinkering-it wasnt as simple as dropping the thumbs up in a line of code. Bookseller Borders has also implemented likes for individual titles on its site, and Urban Outfitters recently began to rank products based on likes, displaying the most thumbs-upped products first. But most use of the feature still focuses on affinity for the overall brand, vs. distinct products or services.

Adding the buttons is easy, said Mr. Kumar. But the second part is using that information for a better experience, and very few sites have done that. Beyond search, one Facebook software firm, Vitrue, is building tools to let marketers send distinct messages to its fans based on their likes and preferences. For example, it hopes to slice and dice Levis fans based on products theyve liked to serve legging coupons to legging likers, rather than all sales and promotions to all likers. The hurdle with large brands is one more of coordination between the marketing department and the IT department, said Vitrues Mr. Bradford. Marketing owns the Facebook pages and, in many cases, IT owns the website. Theres also the question of consumer adoption-do people think of likes as a way to catalog the boots they loved in Vogue, when were used to using the like button to applaud Facebook updates on promotions at work or changed-relationship statuses? Also, what happens when likes paint us into corners that limit our web surfing? Its both about not scaring people but the other area to watch out is, if you personalize too much, it can be dangerous, said Ektrons Mr. Wentworth. You dont want to make premature assumptions about somebody. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; GO DADDY SECTION: Pg. 16 Vol. 81

LENGTH: 81 words

LOCATION: Headquartered in Scottsdale, Ariz.; with offices in Iowa, Colorado, Washington, D.C., Toronto, the Netherlands and Singapore EMPLOYEES: 2,729 GIVING BACK: Champions a safer and secure internet with frequent Washington testimony and lobbying. Donated more than $2.5 million last year to a variety of causes. More than 750 employees and friends participated in the Juvenile Diabetes Research Foundation Walk for the Cure last year, an annual event that the company also sponsors. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; HIEBING SECTION: Pg. 18 Vol. 81 LENGTH: 66 words

LOCATION: Madison, Wis. EMPLOYEES: 55

GIVING BACK: The integrated marketing and advertising agencys 2010 pro-bono efforts include work for charities such as the Boys & Girls Club of Dane County, Big City Mountaineers and the United Way of Dane County. Hiebings green practices include recycling, energy-saving campaigns and encouraging environmentally friendly bicycling as a way to commute to work. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; MCKINNEY SECTION: Pg. 18 Vol. 81 LENGTH: 83 words

LOCATION: Durham, N.C. EMPLOYEES: 230 GIVING BACK: Since 2006, McKinney has hosted the Triangle Corporate Battle of the Bands, where local corporate bands compete to raise funds for charity. Taken together, the Battles have raised more than $300,000. (McKinneys band Role Playaz won this year.) Proceeds were directed to a program from educational institution The Hill Center, whose Operation Literacy program provides children in the Durham Public Schools with individualized, after-school tutoring. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH

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Advertising Age September 20, 2010 Mass of metrics may mean marketers know less; Standards board to create meaningful, predictive measurement system BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 5 Vol. 81 LENGTH: 862 words

In a classic case of more not necessarily being better, the rise of digital and social media has spawned a host of new metrics and measurement systems. Whether marketers really know more as a result is more doubtful, however, giving rise to efforts to validate which metrics are really worthwhile. Perhaps the most ambitious of those efforts-the Marketing Accountability Standards Board-got a boost last month with the addition of Coca-Cola Co. as a charter member, joining Kimberly-Clark Corp. and ConAgra Foods among marketers on a group that also counts numerous academics, Publicis Groupes Starcom MediaVest Group and the Association of National Advertisers among members. MASB is striving to create a set of metrics generally recognized as meaningful and predictive, much like the Financial Accounting Standard Board has tried to do over the years with accounting metrics or the International Standards Organization has done with quality-control metrics. MASB is even in talks with FASB about aligning their efforts. But even Meg Blair, founder of copy-testing firm ARS Group, now a unit of ComScore, and president of the nonprofit group behind MASB, acknowledges that nearly a decade into a process she helped lead that it could be a couple more decades before marketing metrics get to the level of validation that

financial or quality metrics have now. She believes the payoff for the industry from that progress could be profound-giving marketers, and specifically chief marketing officers, the sort of credibility and clout that chief financial officers enjoy today. To be sure, theres growing recognition that the industrys bounty of metrics hasnt necessarily made marketing better. Whats making everything much more murky is the amount of data thats available today, said media consultant Erwin Ephron. It just blows the mind. Its very hard to think constructively about media planning when you have 500 different research sources telling you whats going on, because you can prove anything you want. We need to get back to a simple set of measurements that in fact identify response. Marketers have made a lot of things very complex, not just the metrics, said Stewart Atkinson, VPglobal brand building purchases for Procter & Gamble Co. The metric piece is driven by the growing number of things we have to measure as media fragments. We do need to find a better way to measure across the world of media. And I think eventually we are going to get there. A fundamental problem across all metrics is settling for what actually can be measured rather than measuring what actually contributes to the ultimate goal: sales, Mr. Ephron said. So TV ratings, for example, measure presence in front of a TV as opposed to open eyes facing a TV screen, a definition developed five years ago by the Advertising Research Foundation and which is more like what he believes advertisers hope theyre paying for. Despite numerous studies showing clicks on banner ads have little to do with whether people purchase the advertised products or services when the products and services arent sold online, marketers continue to pay attention to the metric, because its easy to measure, whereas online audiences or their offline purchase behavior are less so. But the path to better and generally-validated metrics can get bogged down in the weeds pretty quickly. The Coalition for Innovation in Media Measurement, spawned with much fanfare last year, has focused fairly narrowly so far on developing a lexicon for set-top-box TV data and compiling other information from cable providers regarding their systems. MASB, about six years into its work and about 10 after it was spawned by a group called the Boardroom Project, isnt focusing so much on vetting a broad range of metrics as setting a direction by which metrics should be judged. In a nutshell, the group has determined that marketing metrics should all ultimately measure success in terms of whether the activity leads to increased cash flow. And its established a Marketing Metrics Audit Protocol for judging whether metrics do that. To that end, the group has validated that surveys of brand preference do in fact correlate with market share, which in turn correlates with cash flow-hence making them a useful metric. But with only three marketers on board at this point, and a whole lot of metrics left to evaluate, theres plenty left to do.

I am pleased with the progress, but I am by character an impatient person and wish we had made more, said David Stewart, dean of the graduate school of management at University of CaliforniaRiverside and chair of the MASB. I view marketing today as being in much the same place that the quality movement was 50 years ago, he said. People were still talking about how you couldnt have standardized measures and how could the same measures apply in pharmaceuticals and the steel industry. Of course, now, everybody is into six sigma and are applying a common set of processes and metrics. I think thats where were evolving to in marketing. Being impatient, he hopes that doesnt take another five decades. Being realistic, he believes it may be another two decades. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Why Disney Pictures could soon look a lot like Procter & Gamble; Naked vet Carney appoints brand leads for releases, aims for longer lead times for campaigns BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1098 words

M.T. Carney is perhaps the most closely watched marketer right now in Hollywood, a town that loves

to watch outsiders stumble. Its been nearly four months since Ms. Carney, a founding partner of U.K.-based Naked Communications U.S. outpost, joined Disney Pictures as president-marketing, and shes already been skewered for flubbing one of the first major releases she oversaw, The Sorcerers Apprentice, which has grossed a disappointing $62 million domestically after its July 14 release, earning her the skepticism of one of Disneys biggest producers in the process. But like a thriller-movie plotline, the question is whether there were actually missteps, or whether its a case of the industry rushing to judgment before the marketing model she is trying to put in place has taken hold. Ms. Carney made headlines recently after a Sept. 7 story in The Hollywood Reporter announced her appointment of an outside marketing consultant (Sonys former marketing co-president, Valerie Van Galder) to run the campaign for the third sequel in the supremely profitable Pirates of the Caribbean franchise, produced by Jerry Bruckheimer Films. Mr. Bruckheimer, who produced Apprentice as well as Mays Prince of Persia, both of which were seen as box-office disappointments, told the trade that Ms. Carney came to the party late and that he felt the movies suffered for being caught in between regime changes. A spokesman for Mr. Bruckheimer declined to comment further, referring to the previous article. She kind of had the cards stacked against her, said one marketing exec at a rival studio. Any time you have an inherited slate, and producers breathing down your neck, no amount of paid tweets or flashy social-media campaign can make you look like a rock star unless the first movies are really good. And she had a challenging [lineup]. Shes also trying to bring a more agency-like approach to marketing at Disney, which will soon release the first slate of films from new studio Chairman Rich Ross, who joined last October from the Disney Channel. She has appointed brand leads for each of the studios releases across its Disney, Touchstone Pictures, Pixar and DreamWorks divisions. In June, she tapped former Fox and Universal exec Kevin Campbell as her exec VP-marketing, overseeing all the DreamWorks Studios titles released under the Touchstone banner. She also appointed marketing leads for the studios live-action and animation divisions. And Ms. Carney contends she invited Ms. Van Galder on her own accord, despite Mr. Bruckheimers comments to the Hollywood Reporter. Building a marketing team is like putting together a soccer team-youre only as good as the people youre playing with, Ms. Carney told Ad Age. Multiple executives from other studios told Ad Age that the practice of hiring an outside consultant to lead the strategy for a tentpole film is fairly uncommon, though its not unheard of to outsource an awards-season strategy to a third party or ask for an extra pair of eyes on a franchise property. It may send a signal to some that Carney needs some guidance, but marketing any film has many credited and uncredited heroes, said one executive at a rival studio. Are the myriad of creative vendors that studios hire consultants? A key priority for Mr. Ross as he prepares to greenlight his first full slate as chairman (not to mention oversee the studios recently completed $4 billion acquisition of Marvel Studios) is to find films and create franchises that play well internationally. Mr. Ross told Ad Age in May that Ms. Carneys

background was ideal to help him realize this strategy. Shes Scottish, so you know that shes somebody that comes from another world, he said. Were in a global business, so you need someone that knows how to create ideas that go all over the world. Being an innovative marketer has also been at the top of Ms. Carneys list. Disney was a launch sponsor of Apples iAd platform, and Ms. Carney oversaw the companys launch sponsorship of Twitters Promoted Tweets platform, an experiment she said was overhyped in the trade press for having a profound impact on the success of this summers Toy Story 3. We will continue to try to do things in a new way if theyre appropriate to our audience and there is an opportunity to test. The Twitter test was only 50,000 people-the fact that it created such a stir is a testament to the power of Twitter, at least within the marketing community, she said. But one perspective Ms. Carney said she wont be changing any time soon is the studios media agency. Despite late-summer rumblings that Disney was looking to place its account in review, plans are for the $399 million account to stay with Publicis Groupes Starcom. As each release for Disney becomes more and more like the launch of a package good from Procter & Gamble, Ms. Carney would also like to see an agency-like use of longer lead times, strategizing a films campaign eight to nine months out. A lot of what Ive been doing is about breaking down silos, she said. In the marketing department, its a micro level of what Rich has been doing across the whole company. I dont know the agency practice vs. the Hollywood way, but this is how Ive always worked, she said. The priority is to make sure teams have the tools and the time they need to get the thinking right. We dont want to get into rapid course adjustment three-fourths of the way through the film. This fall sees the release of three more major releases for the studio, Secretariat, a Seabiscuitesque horse drama starring Diane Lane; Tangled, a CGI-animated take on the Rapunzel story featuring the voices of Zachary Levi and Mandy Moore; and Tron Legacy, the long-awaited sequel to the 80s cult movie. (Mr. Ross did not greenlight any of these films, so the beginnings of his soupto-nuts imprint are still months away.) Next spring tentatively brings an adaptation of the Kathryn Stockett novel The Help starring Emma Stone and Bryce Dallas Howard, while the summer brings a sequel to Pixars Cars in addition to the next Pirates film. As she enters her fourth month at Disney, Ms. Carney takes the criticism around her new role in stride-but shes also prepared to take the fall for any of her future moves, including the hire of Ms. Van Galder. I feel its important to have accountability as well as authority, she said. I believe if the things dont work Im the first person to put my hands up for good and for bad. In Hollywood, that tends to work the other way around, as shes quickly finding out. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH

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Advertising Age September 20, 2010 Product offerings are pretty slim for obese consumers; As Americans grow larger, most marketers outside clothing are content to ignore the demographic BYLINE: MATT CARMICHAEL; MCARMICHAEL@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1333 words

Wendy Wimmer describes a recent trip to the plus-size section of Target as entering the fat-girl ghetto. She passed racks of cute as a button Liz Lange maternity wear with envy. Finally she found a lackluster selection of clothes that fit her frame, tucked in the far corner of the store near the big-box Siberia known as layaway. Someone is pregnant for nine months, but people are generally fat for their entire lives, said Ms. Wimmer, who has contributed to the Big Fat Deal blog since 2005 under the screen name Weetabix. Its the one growing demographic marketers seem intent on largely ignoring: the overweight. In 1996 there wasnt a single state in the U.S. where the adult obesity rate was greater than 20%. A mere 14 years later, 49 states have crossed that line, leaving Colorado as the most-svelte state in the union. Some blame this solely on a 1998 redefinition of overweight by the Centers for Disease Control and Prevention, but the figures were already increasing. Consider: 33.9% of adults are obese and 68.3% are overweight. Obesity, defined by the CDC as a body-mass index greater than 30, hits women (35.5%) and blacks (44.1%) harder. No demographic is spared, and the numbers are trending worse and worse. The stats for children are especially appalling. Some 10.4% of kids ages 2 to 5 are obese. Nearly one in five of those aged 12 to 19 are,

and the figures have doubled and tripled, respectively, in the last 30 years. Despite a heavier America, the selection of products for them remains thin. I can go out and see women my size and know exactly where they bought everything theyre wearing, said Lesley Kinzel, 33, who has run a blog at Fatshionista.com since 2007 and was part of the Fatshionista LiveJournal community-a hub of the fatosphere, with 8,000 active members. Yet as Americans are getting heavier and heavier, few marketers seem to be taking notice. While its not a problem that impacts all sectors-overweight consumers dont need a different kind of battery or toothpaste-more spacious restaurant booths, wider desk chairs and more leg-and shoulder-room on airplanes could present an opportunity for marketers to adapt to a changing consumer. Taking larger consumers into account when planning a retail environment would have ancillary benefits as well. Until we as a nation go on a diet, being conscious of our size is simply good business, said Paco Underhill, president-CEO of retail consultancy Envirosell. But there are reasons they dont. It seems like this would be more of a product development than a marketing issue, said Ryndee Carney, manager of dealer and marketing communications at General Motors. And it could for some backfire-McDonalds would certainly never be able to produce an ad saying, we made our booths wider so you can fit in them after eating too many of our products. Even so, subtle changes would still be noticed by the consumer even if theyre not advertised overtly. Jet Blue currently has a video testimonial on its site featuring a customer named Kervin who espouses the comfort of the middle seat he barely fits in. Jet Blue said in a statement that we included Kervin because he was, first and foremost, a real customer who could talk about the experience on JetBluejust as we did with all the people in experience videos-and his size did not have anything to do with it either way. Its subtle, but the online-only spot produced by Firstborn Multimedia is a stark contrast to rival Southwest and its policy of charging fliers for two seats if they cant fit within the arm rests. That danger of that policy was demonstrated well when the airline got in a very public Twitter dispute with director Kevin Smith, who reportedly got booted from a flight even though he claimed the armrests went down fine. Milan might have banned the starving-urchin look, but you still dont see obese people in TV shows unless theyre about fat people, like Biggest Loser or Huge, nor do you see many in commercials. It seems like a valid theory: Appeal to plus-size consumers with plus-size models in order to get them to feel better about themselves and associate that positive feeling with your brand. So if overweight Americans are now the overwhelming majority, why arent more brands and the media responding? The tricky thing is: How do we push that line and remain aspirational and respectful of the beauty industry and what that represents? said Lauren Crampsie, chief marketing officer of Ogilvy and Mather North America, whose work on Doves Real Beauty campaign famously showcased fullfigured models. Its a scary time. People dont want to piss off the industry, and the industry is based on size-two models.

Also, it might not work. Naomi Mandel, an associate processor at Arizona State Universitys W.P. Carey School of Business, conducted a study for a paper published in the Journal of Consumer Marketing earlier this year. Her research looked at the impact of models of varying weights on the self-esteem of overweight women. There isnt any size model that improves the self-esteem for overweight consumers, she said. They reacted most positively to ads with no models in them. Additionally, in a previous study, Ms. Mandel found that exposure to ads with slightly plus-size models tend to lower the self-esteem of normal-weight women, who see the similarities to what they view as flaws with their own bodies. It also isnt an issue that affects all brands to the same extent. As Peggy Howell, a spokeswoman for the National Association to Advance Fat Acceptance, put it, Fat people dont need a whole lot more than skinny people. The major needs are clothing that fits, furniture that is comfortable and can support weight, and products and services related to travel such as wide airplane seats and seat-belt extenders for both planes and cars. Those are products that drive a large portion of consumer spending. Americans spent more than $260 billion on clothing and furniture in 2008, according to the latest Bureau of Labor Statistics figures. Many marketers dont see overweight people as an audience to reach, even if their products could easily be targeted to the demographic. Ryndee Carney, manager of dealer and marketing communications at General Motors, said, There is no strategy about how we market to obese people. I can assure you no one is taking obesity into account when we create marketing plans. For those who are actively targeting this demographic, the consumer isnt always easy to reach. Traditional means of advertising, like print magazines, might not be the best venue. Im not sure my girl is there, said Chris Daniel, president of teen retailer Hot Topics plus-size offshoot Torrid. Mr. Daniel works with Coburn Communications for Torrids public-relations work and handles the rest of its advertising in-house. He has been diverting advertising dollars to affiliate and search-engine marketing, events, regional advertising and public-relations efforts. The number of impressions you have to make in order to reach someone-its kind of daunting, he said of the vast array of media messages that bombard his tween and millennial target. The rewards can be great. Lane Bryant is the leading plus-size retailer for women with nearly 800 stores. Its parent company, Charming Shoppes, had more than $2 billion in sales last year for its three plus-size brands. Torrids revenue for 2009 was just over $150 million, with almost 20% of that coming from online sales. As far as men go, its possible that they are shopping plus-size and just dont know it. Esquire recently posted a story on its site that a 36-inch pair of pants at a number of major retailers actually ranged in size from 37 inches at H&M to an extra-generous 41 inches at Old Navy. While a spokesperson for Old Navys parent, Gap Inc., denied that was true, the prevalence of vanity sizing, as this practice is called, matches pretty well with this authors shopping experience in recent years. LOAD-DATE: September 20, 2010

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Advertising Age September 20, 2010 PEOPLE ON THE MOVE SECTION: Pg. 26 Vol. 81 LENGTH: 970 words

CiCis Pizza has named Nancy Hampton chief marketing officer. Ms. Hampton is a restaurant brand strategy, innovation and marketing veteran with more than 20 years of experience growing brands such as Chilis and Corner Bakery Cafe. As VP-brand strategy for Romanos Macaroni Grill, she spearheaded the brands repositioning, increased guest traffic and profitability and drove menu innovation. Her efforts at Corner Bakery helped generate double-digit sales growth. Source Interlink Media has elevated Chris Argentieri from chief operating officer to president. In his new role, he will be responsible for enhancing the relationship between SIMs audience and its brands, which include Motor Trend, Automotive.com, Automobile Magazine, Hot Rod and IntelliChoice, and will continue to oversee day-to-day business operations. Prior to joining Source in 2005, Mr. Argentieri began his publishing career at Hearst Magazines, where he held various operational roles. Valerie Green has been named senior VP-marketing for Cablevisions local-media group, which consists of News 12 Networks local channels, MSG Varsitys TV and online services covering highschool activities, and Newsday Media Group, which includes Newsday and free daily amNewYork. Previously, Ms. Green was senior VP-marketing for Fuse, a music-television network that is part of the Madison Square Garden properties. Before joining Fuse, she spent 11 years at Cablevision, where she held a number of marketing positions throughout the company, including her last position as

VP-multicultural and urban marketing. Ms. Green has also served as general manager of Spin magazine and head of marketing and publicity for Rolling Stone magazine. Ellen Asmodeo-Giglio has joined AFAR Media as exec VP and publisher. Ms. Asmodeo-Giglio brings more than 20 years of publishing, marketing and sales experience to her new role at the experiential-travel brand. She most recently was VP-general manager of the Weekend Edition and Luxury Group at The Wall Street Journal. Prior to that, she was a luxury marketing consultant and senior VP and publisher of Travel & Leisure. Optimedia U.S. has hired Kristin Goodloe as senior VP-communications planning director for Richemont and LOreal luxury-products division. Ms. Goodloe joins Optimedia from WPP Groups MediaCom, New York, where she was senior partner-group strategy director. While there, she managed integrated strategic media-planning relationships for H&M and Audi, integrated strategy with global teams on LVMH and H&M, and drove branded entertainment strategies on key brands. Prior to MediaCom, she led all media efforts for 10 beauty brands in LOreal portfolio at Universal McCann, New York, which she transferred to from ZenithOptimedia at the clients request. She is the recipient of MediaWeeks 2010 Media Plan of the Year Award, the MediaCom Eagle award and McCanns Truth-Well-Told Award. Discovery Communications has appointed Meg Lowe senior VP-domestic distribution. Ms. Lowe spent the past 15 years at MTV Networks, most recently as senior VP-content distribution and marketing. Previously, she was responsible for negotiating distribution deals as VP-market development for MTV and BET Networks. Additionally, Discovery promoted Jocelyn Egan from VP-Discovery Solutions to senior VPDiscovery Solutions, and Maria Kennedy from VP-direct response to senior VP-advertising sales, direct response for Discovery Communications. Ms. Egan has been responsible for Procter & Gamble, Allstate and Macys partnerships that leveraged Discoverys networks, digital properties, talent and Discovery Studios. Before joining Discovery in 2004, she was director-strategy at OMD, New York, where she led media strategies for clients including Gillette, Frito-Lay and Pizza Hut. Ms. Kennedy has led numerous innovations in direct-response partnerships for clients including Procter & Gamble and Advance Results Marketing. She began her career in advertising sales at Katz Independent Television and MTV Networks and joined Discovery as a sales assistant in 1990. Chris Ficarra has been promoted to the newly created position of senior VP-integrated marketing for MTV Music Groups digital properties: MTV.com, VH1.com and CMT.com. Mr. Ficarra came to VH1 in 2003 as director-integrated marketing and developed multiplatform marketing concepts for the stations advertising partners. He most recently served as VP for VH1s integrated-marketing team. Before joining MTV Music Group, Mr. Ficarra was at Vivendi Universal Net/Universal Music Group, where he was general manager of RollingStone.com as well as VP-sales marketing and operations at GetMusic.com and director-sales marketing and operations at Farmclub.com. Bob Eagen has joined McCann Erickson, Los Angeles, as senior VP-group account director to lead the agencys LifeLock business. Mr. Eagen comes to McCann from Anderson DDB in San Francisco, where he served as account director on Johnson & Johnson. While there, he led the development of all consumer-marketing communications for Johnson & Johnsons OneTouch brand, which produces

glucose monitors for diabetes. From 2003 to 2007, Mr. Eagen served as a management supervisor at Grey in San Francisco, working on the Blue Cross, McAfee and Roman Meal brands. His past experience also includes working on accounts at Doremus and Goldberg Moser ONeill/Hill Holliday. McCann Erickson, LA, clients include IHOP, LifeLock and Nestl, among others. Havas Medias MPG has tapped Peter Sedlarcik as senior VP-director of insights and analytics, based out of the agencys New York headquarters. Mr. Sedlarcik was most recently senior VPdirector of insights and analytics at Targetcast. He first joined MPG in 2002 as senior VP-research consultancy and has also held key research positions with Carat and Millward Brown. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Pizza Hut makes its staff the stars in brand-focused campaign; Employees talk about favorite products, selves in Your Favorites. Your Pizza Hut push BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 745 words

Twenty-year old Michelle Leachman serves customers at a Pizza Hut in Idaho but dreams of competing in a demolition derby one day. Briana Rico, a 17-year- old aspiring actress who works at a Pizza Hut in California, says the best item on the menu is the Stuffed Pizza Rolls, while Pennsylvania native Ethan Washic is partial to the barbecue-chicken pizza.

In the coming months, consumers will get to know the likes and dislikes of these and a few other employees of Pizza Hut. Thats because theyre the stars of a new ad campaign that broke during Foxs NFL broadcast Sunday. The effort signals a directional change for the Yum Brands-owned chain that earlier this year touted $10 pizzas and 50 wings in the middle of a pricing war with rivals Dominos and Papa Johns. The new tack marks the first time in over a decade Pizza Hut will run national advertising thats purely about branding; the spots feature no new-product offerings and make no mentions of deals. As part of the creative by Interpublic Group of Cos. Martin Agency, Pizza Hut is dumping its earlier tagline Americas Favorite Pizza, replacing it with Your Favorites. Your Pizza Hut-underscoring the restaurants increased focus on wings, Tuscani pastas and other items not in the shape of a pie. There are signs that Pizza Hut is beginning to gain some ground on category leader Dominos, which has 18.4% of the market compared to Pizza Huts 15%. Dominos marketing strategy from Crispin Porter & Bogusky, which is something akin to our pizza was gross, but we fixed the recipe, seems to be working. Dominos posted historic same-store sales increases earlier this year of 14.4% vs. Pizza Huts 6%. But in the second quarter, Pizza Hut led same-store sales for Yum with an 8% lift, offsetting the 1% increase at Taco Bell and 7% decrease at KFC. Said Brian Niccol, Pizza Huts chief marketing officer: We just need to incite the consumer to pull up the emotional side of the brand and the high-quality products we provide. Our pizzas, our pasta, the wings, the way they taste, the crust. We need to leverage that as opposed to, say, weve done anything wrong. Our brand stands for quality already we have no need to denigrate the brand in order to get people to engage with it. That Pizza Hut is turning employees into spokespeople makes it one of several brands in the past year that have tried to personalize their companies by using homegrown marketing talent, perhaps not coincidentally, while struggling with the recession. Nationwide Insurance switched from using D-list celebrities such as Kevin Federline, Fabio and Sanjaya Malakar to using employees; Best Buy ran a series of ads called True Stories in which associates relayed stories about helping customers; and more recently, BP began using employees in a bid to convey honesty and transparency about its Oil Spill. Whats different for Pizza Hut is the way it went about it: a Star Search-like contest. A little over two months ago, a notification was sent out to all 7,500 U.S. restaurants announcing the The Pizza Hut Casting Call. Employees were asked to submit short videos that highlighted their unique personalities to take part in a new ad push as extras. Out of hundreds of submissions, four girls and four guys were selected, half of them age 20 or under. They were flown to Los Angeles for a one-week shoot, some accompanied by their parents because theyre so young. Only once there was it revealed that they were selected, half of them ages 20 or under. They were flown to Los Angeles for a one-week shoot, some accompanied by their parents because theyre so young. Only once there were was it revealed that they would be featured as the new stars of Pizza Huts ad campaign, with Martin Agencys Andy Azula-a.k.a. the UPS Whiteboard Guy-giving them a pep talk about what its like to have a role in an ad campaign for the first time.

While its not a goal of the campaign, the youthful skew could help connect with what Kurt Kane, VPbrand advertising at Pizza Hut, earlier this year told Ad Age is one of two of Pizza Huts core consumer groups, families and young adults. The commercials will be sprinkled in high-profile programming through the balance of the year with national network and cable media buys. TV presence will be supported by a social-media blitz during which a different employee will be featured each week, through YouTube videos, and dialogue on Pizza Huts Facebook and Twitter pages. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Marketers walk a fine line as they get closer to solving one of advertisings great mysteries BYLINE: RANCE CRAIN; rcrain@crain.com SECTION: Pg. 24 Vol. 81 LENGTH: 688 words

John Wanamaker, the Philadelphia merchant, famously said, I know half my advertising is wasted, I just dont know what half. Congratulations to John, by the way, for getting involved in his stores advertising programs; most CEOs dont bother. And now with budgets increasingly going to digital, they really wont bother because theyll be too embarrassed to admit they dont understand how digital can build brands-or if its even important anymore. Whats important is to be at the right place at the right time with the right merchant.

Old John Wanamaker, if not todays CEOs, would be thrilled that were fast closing the wasted advertising gap by allowing consumers to pre-select for themselves just what theyre looking for. Theres just one little problem: knowing too much about consumer-buying proclivities could be considered an invasion of privacy, even though marketers can give consumers just what they want. Direct-marketing legend Lester Wunderman understands better than most how far weve come-and how tantalizingly close we are to eliminating wasted spending. To know when consumers are ready to part with their money is the big unknown, Lester told me. To hit the target at the right moment and the when-the right moment is the when, and its the one thing we dont know. The when is the big mystery. Frequency doesnt solve the when. Frequency is I dont know when so Im just going to keep after you until the when is ready. After coming so far, we might never figure out the when. As Bob Garfield asked: How hysterical would it be for online advertising to be legislated into oblivion? Its hardly an insane scenario, as pressure builds on the FTC and Congress to safeguard consumer privacy from behavioral targeting and other online wizardry. The crackdown on behavioral targeting comes at an especially inopportune time, given the fact that we need consumers to feel free and comfortable spending their money again. They feel free posting all kinds of personal stuff on Facebook, so why is it considered creepy for marketers to know what products they like to buy? Heres how FTC Chairman Jon Leibowitz described the dilemma: Imagine that you were walking through a shopping mall, and there was someone who was walking behind you and taking notes on everywhere you went and sending it off to every shop or anyone who was interested for a small fee. That would creep you out; that would be very disturbing, I think, for most people, he told Bob. Not for me, or I would wager, the millions of people who share their every waking hour with likeminded people on the various social media. Heck, Id like to have a personal shopper following me around to make sure I didnt forget anything. Lester Wunderman made an important distinction between what kind of information is acceptable to use for marketing purposes and what kind isnt. Is it personal, or is it private? If I address you by name, and I know that you own a house and own a car, and the make and model and year of that automobile, thats not private. It may be personal, but its nothing youre hiding. But if I begin to get into your debt, get into your family income, get into your mortgage problems if you have any, I think we are on the verge of invading privacy. So its personal but not private for marketers to know that you like Chanel purses or Jimmy Choo shoes and send you emails about new models and sales and even other shoes and purses from other fashion houses.

Sure, you could opt out for such updates from the companies involved. Or they could explain how they knew from your previous buying patterns that you would most likely be interested in similar products, but please dont feel pressure to act on any of the information that suddenly pops up and please forgive us for intruding. Lester Wunderman, in his interview with me, did say that competition is getting fierce to figure out how to get to the when moment that would render John Wanamakers advertising totally unwasted. But if marketers move from using personal to private data, in their quest for advertisings holy grail, it would block progress for years to come. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; RANGE ONLINE MEDIA SECTION: Pg. 20 Vol. 81 LENGTH: 89 words

LOCATION: Headquartered in Fort Worth, Texas; branch offices in New York and Salt Lake City EMPLOYEES: 97 GIVING BACK: For the past two years, Range team members have planned a holiday carnival at an elementary school in an economically challenged area of town. Range has donated funds for the Haiti rebuilding initiative through the American Red Cross and raised awareness among industry

colleagues at conferences. It also supports the Warm Place, a local organization that provides support to children and families who have lost a parent. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; RED DOOR INTERACTIVE SECTION: Pg. 21 Vol. 81 LENGTH: 72 words

LOCATION: Headquarters in downtown San Diego; smaller offices in Carlsbad, Calif., and Denver EMPLOYEES: 50 GIVING BACK: Red Door does pro-bono work for nonprofit organization New Leaders for New Schools. The company has a philanthropy committee that organizes events for staff such as fundraising for the MS Walk or volunteering at beach cleanups. The company has gone paperless in its accounting office and with all internal documents. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 20, 2010 Best Places To Work; SICOLAMARTIN SECTION: Pg. 21 Vol. 81 LENGTH: 82 words

LOCATION: Austin, Texas EMPLOYEES: 50 GIVING BACK: This year, SicolaMartin instated 10 in 10, a program that gives employees 10 paid hours in 2010 to devote to volunteer work, whether as part of a group or individually. Every two years, employees also have the chance to pitch their favorite charitable organizations to coworkers, who select the pro-bono accounts SicolaMartin will serve, including, most recently, The Austin Childrens Shelter and The Breast Cancer Resource Centers of Texas. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Big marketers to Super Bowl: We cant quit you; Choosing to watch from sidelines the past few years, top advertisers decide they want back in the game BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 570 words

Blue-chip advertisers that managed to kick the Super Bowl ad habit in recent years are suddenly flocking back to it with a vengeance, as if it were some wonder drug from which one cannot easily be weaned. For the past two recession-plagued years, the Super Bowl ad roster has relied more strongly than is the norm on the second-string: first-time entrants just feeling their way into the gridiron classic and an odd assortment of competitors-think advocacy-group Focus on the Family or precious-metals collector Cash4Gold.com-that one would suspect might want to use narrower media for a more targeted message. But next years game, slated to be broadcast on News Corp.s Fox in February and held in Arlington, Texas, is seeing a rush of interest from some of the nations largest marketers. Already, General Motors and Pepsi have signaled their intent to take part. GM, a veteran Super Bowl advertiser, has been absent from the games ranks since 2009, as its economic woes made an appearance in this most-watched-and most costly-of TV events seem, well, unseemly. And Pepsi benched its beverages in last years contest, citing a desire to promote a Pepsi Refresh project that thrived with social media and viral promotion. The public sentiment about sports and entertainment sponsorship has turned back into a positive light, said David Schwab, a VP at Octagon, an Interpublic Group sports-and entertainment-marketing company. The reach you get with the Super Bowl and the additional publicity and social-media play is unparalleled to anything in the market. Advertiser demand for the event has been robust. A Fox Sports spokesman said the game is more than 90% sold out, noting there are only a handful of units remaining. Fox had sold 80% of the game during its upfront sales this year, seeking between $2.8 million and $3 million for a 30-second spot, according to media buyers.

The pace is faster than anything witnessed in recent times. As Fox prepared to sell ads for the 2008 broadcast of the Super Bowl-the last time the network handled these duties-it hadnt sold 90% until late October of 2007. Indeed, it took CBS until September of 2009 to sell 70% of the game for 2010, when the economy weighed more heavily on advertisers purse strings. Whats driving the push? More advertisers see live sports as a venue in which consumers watch the ads right away and dont zap past them with a DVR or ignore them with a click of the computer mouse. And the Super Bowl brings with it a reach that is impossible to duplicate with any other single TV broadcast. At a time when most video content seems to reach fewer people than ever before, the Super Bowl is reaching more. CBSs telecast of the event this year set a record for broadcast TV, reaching an average of 106.5 million people, topping the longstanding record set by CBSs telecast of the series finale of MASH in

1983.
Theres also a sense that its OK to spend again and go for the biggest audiences possible-at least when the circumstances are correct. Pepsi, for instance, plans to drive awareness for Pepsi Max, its male-oriented diet beverage. We are restaging the Pepsi Max brand and putting a tremendous amount of resources behind it, and we couldnt think of a better place to get that message out, said Jill Beraud, chief marketing officer, PepsiCo Beverages Americas, in an interview last week with Advertising Age. CONTRIBUTING: NATALIE ZMUDA LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Holiday season looks to be full of gifts for tech marketers; With content-partner deals, freebies and store demos marketed as events, consumer electronics projected to score at full price BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 953 words

Its going to be a green Christmas, at least in consumer-electronics sales. Bolstered by a flood of new products such as motion-controlled game consoles, 3DTV, e-readers and tablet computers, sales are projected to keep the industry growing at a strong clip. The Consumer Electronic Association

predicts $175 billion in shipments for 2010 in the U.S., a 3% increase over 2009 and a $9 billion jump in the groups earlier January prediction. Whats more, not a lot of it will be purchased off the sale rack. So how will individual brands stand out and grab that green without dangling discounts during a time when price considerations still weigh heavily for most consumers? Instead of just the same-old electronics gambit of Black Friday price wars and bigger and better hype, expect to see exclusive content-partner deals, extras and freebies thrown in, extensive in-store demos and cross-category promoting. Its all part of an industry mind-shift to market the experience instead of the power a device can provide. What I used to teach my students at Syracuse in the 90s as the unique selling proposition, is maybe becoming the unique experience proposition. Its creating that excited, uncanny feeling that you have to have something, said Forrester Research analyst James McQuivey. Youve got to obsess about the customer experience. Content deals, for example, are becoming much more important. And while partnerships for content such as Netflix and Pandora are now standard add-ons to many electronic devices, its exclusivity thats becoming more popular. Panasonic, Sony and Samsung have all locked up exclusive 3-D Blu-ray content specific to their TVs this season. But the December launch of Avatar in 3-D will only be available for Panasonic 3-D TV owners for a set amount of time, while Disney 3-D titles Alice in Wonderland and Bolt will only be available for select Sony Bravia 3-D TVs for a limited period. Samsung struck a deal with Dreamworks Animation and currently has Monsters vs. Aliens exclusively for Samsung 3-D TVs, with How to Train Your Dragon and the Shrek series of movies coming soon. Samsung has also secured exclusive rights to several IMAX 3-D movies including Into the Deep and Galapagos. At Microsoft, exclusive partnerships with media partners are a key marketing theme. Previous examples include Bing and The Rachel Zoe Project and Windows 7 with Family Guy. Gayle Troberman, chief creative officer of Central Marketing Group, promised more this holiday, although she was mum on details. This holiday we believe consumers are ready to indulge a little, she said. Were feeling a new optimism from consumers, and youll see that reflected in our advertising. Microsofts new advertising, from agencies including JWT, Crispin, Porter & Bogusky, and AgencyTwoFifteen, breaks later this month with a focus on Kinect for Xbox 360 and Windows Phone 7 both launching this holiday, along with Windows PC and Bing, Ms. Troberman said. Demos, whether in-store displays or hands-on tours, also will be popular this season. The new motion-controlled game consoles, Kinect and also Sony PlayStation Move, along with tablets, ereaders, 3-D TV, and a batch of new mobile phones will all be showing up in stores and malls, encouraging people to look, see, and play for themselves. Sales are becoming more and more event-driven, said Shawn DuBravac, chief economist and director of research at the Consumer Electronics Association. But creating an event can be done in

many ways. Demos are going to be key this holiday season. They close the loop, especially with new products, he said. Such products include the Amazon Kindle, which will go to retail for the first time this fall at Best Buy, and Apples iPad, which also will be available at all Best Buy stores. IPad is also rumored to be headed to broadscale retailers such as Target and Walmart. The important thing this year is just getting in front of customers, said Mr. McQuivey. Walmart sells a lot of books and at attractive prices. People who go there for books and see any e-reader on an end cap at the book aisle will be inclined to say Thats the one for me. Thats the reason Barnes & Noble has sold any e-readers. Another electronics-marketing angle cropping up this selling season is cross-category competition. Amazon Kindle fired the first shot with a TV spot last week that took a swipe at iPad, noting that the experience of reading in sunlight with a Kindle is superior to the iPad. Kindle isnt competing with other e-readers; its competing with other products that can do the same thing. You have to target consumers looking to get the experience your product offers vs. another product, no matter what category its in, said NPD analyst Stephen Baker. Theyve got to be much more competitive than just reducing prices by 40% to gain traction. Mr. McQuivey said, They may not be direct competitors, but theyre all competing for your attention, your time and your money. Look at mobile phones, TVs, computers, tablets and all those; there are essentially five or six categories of products all competing for attention and wallet share. Kindle is very much selling to people a feeling of what its like to be our customer. Ultimately thats the best advantage any device maker has. Of course, with budgeting still in mind, there will be price breaks and drops, particularly around Black Friday, but insiders think those will be meted out as tactical moves, with likely no manufacturer price decreases on the new devices-or Apple products-this year. Packaging in freebies and extras, like accessories, additional games or movies, and gift cards, may serve as alternatives to price drops. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 HOW TO STOP A REBRAND, ONLY TO REBRAND AGAIN; CMO faced unique challenge when ADT acquired Broadview, formerly Brinks BYLINE: NATALIE ZMUDA; nzmuda@adage.com SECTION: Pg. 23 Vol. 81 LENGTH: 1128 words

In January, ADT North America inherited an interesting problem: It had to stop a massive rebrand midstream and rebrand yet again. When ADT announced plans to acquire Broadview Security in January for strategic reasons, the latter had, just six months before, committed to spending $120 million over two years to shed the Brinks Home Security name and draw attention to its new moniker. Broadview, which continued to add new subscribers leading up to the acquisition, also got a boost in brand awareness from an SNL skit spoofing the companys fear mongering ads earlier this year. It was a lot to have happen in a short time on the watch of the companys first-ever chief marketing officer, Don Boerema, who joined in November 2008 from FDN, a telecommunications company in Orlando, where he was president-chief creative officer. At the time, he was tasked with identifying new market opportunities, developing new product and services, and strategic marketing. But the former senior VP-business solutions at AT&T and alumnus of PepsiCo and Procter & Gamble couldnt have anticipated this unique challenge going in. ADT moved quickly once the merger was finalized in May. In the space of just 100 days, it updated everything from uniforms to vehicles, building signage to marketing collateral. It was a herculean effort, Mr. Boerema said. And necessary, given that ADT this month is embarking on its largest product launch. The introduction of Pulse Interactive Solutions will allow consumers to manage their home from any browser-enabled device. Customers will be able to, quite literally, turn off the lights and close the garage door from a mobile phone. A massive marketing campaign from agency of record Doner, including traditional media, social media, mobile marketing and leveraging the companys various sponsorships, will roll out this month. But dont expect to see the system marketed with screaming women and sinister-looking men, la Broadview. In an interview with Ad Age, Mr. Boerema, who reports to John Koch, president-ADT North America, residential and small business, talked about why you wont see ADT on SNL anytime soon, marketing a new type of security and how he keeps his nearly 12-year partnership with Doner

on track. The integration of Broadview is, essentially, complete. What has the integration meant, from a marketing standpoint? When you put the No. 1 and No. 2 players in the marketplace together, there are a lot of things we had to go through from an integration standpoint. The exciting thing is that the cultures are very complementary. Were both focused on the customer. Its been an exciting transition; were seeing one plus one equals three on the integration. ADT is the dominant brand in our industry, with high brand awareness, and thats something that they didnt have in switching from Brinks to Broadview. They went from an established brand to a developing brand, and they were spending a lot of money on that. Broadview had committed to spend upward of $120 million on marketing in the next two to three years. Are there still plans to increase spending or will ADTs marketing budget remain the same? Were looking at the combination of both budgets. We dont have to do some of the brand things they were doing, so there are some synergies there. Overall the marketing budget will continue to increase. Were doing some things to create a new ADT, as we go into the marketplace with new products, services and new advertising. There will be a tremendous amount of activity that will be occurring in the next 60 to 90 days. ADTs parent company, Tyco International, spent $131 million on marketing last year. How much of that budget will go toward this campaign? We wouldnt share the details. But were spending tens of millions of dollars just on this campaign. How do you market something like Pulse? We have to broaden how we go to market. Social media will be a much bigger piece. TV will be a much bigger piece, because what we have to do now is not only generate the normal leads but educate the marketplace. We put an iPhone app out there, so you can download and manage the entire Pulse solution from your iPhone. We have thousands of individuals that have already downloaded the app and said, I want to buy the solution. We havent formally introduced Pulse in the marketplace yet. But theres already a lot of momentum going on, based on social media. Are consumers sufficiently confused, having gone from Brinks to Broadview to ADT? No, actually theyre not confused. Weve done a tremendous amount of communication with our base of customers. We dont want them to get a bill from ADT and think, Why are they billing me? Im a Brinks customer or a Broadview customer. You also plan to eliminate the Broadview genre of advertising, which was infamously spoofed by SNL. Why?

Everything they did and we did, we took a look at. We didnt want to be close-minded. We spent time with their agencies, reviewed their research and looked at all the different opportunities. Our research showed, and some real-life examples showed, that some of their ads had a very negative response. We actually got a lot of residual benefits from folks that would see their ads and be frustrated by them and come to us. Was there resistance among the Broadview team to losing that advertising? Obviously they were passionate about it initially. Everyone had an equal voice, and we discussed that. Maybe the SNL spoof was a happy coincidence, then, a good time to walk away from that advertising. That was a happy coincidence. It was interesting, some of the folks there were proud of it. I wasnt. Its not anything that I want to happen again. Youve been with Doner for almost 12 years. How do you ensure that you keep getting the best work and the best pricing? We do periodic reviews with them. We also have other agencies that we partner with to bring specialization in. Razorfish, for example, in the online space. Especially in this economy, procurement has become a big buzz word. As CMO, how closely do you work with procurement? Almost minute by minute. I have responsibility not only for marketing services-advertising, public relations, customer communications-but also all the product management. Obviously, when you get into the product-management area, theres a tremendous amount that we work closely with procurement on. Certain things are a commodity. You have to look at the value equation. When I look at creative minds of an agency thats our partner, what I dont want to do is go on the cheap on that. I can get somebody less expensive, but Ill get what I pay for. If Im going out to print a piece of collateral, thats very different. I can go to 15 printers and get the same piece of collateral, the same quality. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Aging shows, shakeup in management give ABC cause for concern; With revenue down and ad buyers wary, network begins fall season with challenge of recapturing its once-resurgent appeal BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 821 words

ABC needs to pull a desperate housewife out of its fall schedule. In 2004, after suffering a drop in upfront ad sales thanks to an overdependence on game show Who Wants to Be a Millionaire, ABC greenlit Lost and Desperate Housewives, which fueled its resurgence. This fall, ABCs hoping for a similar jolt. The network has grown reliant on a group of aging stalwarts and that has ad buyers concerned. How bad has it gotten? Even ratings-challenged NBC, no longer so far behind ABC in terms of performance, has been taking potshots. For the 2009-2010 prime-time broadcast season, ABC saw its average viewership come in third, behind CBS and Fox, according to Nielsen. More crucial, perhaps, is its viewership in the demographic coveted by advertisers-people between the ages of 18 and 49. ABC nabbed an average of 2.692 million viewers, Nielsen said, while NBC, boosted by its broadcasts of the Winter Olympics, captured an average of 2.686 million viewers between 18 and 49-not too far apart. Couple that with ABCs recent spate of executive turnover-ABC news chief David Westin has indicated he will leave by the end of 2010, and the network has parted ways with both Stephen McPherson, the man who devised its new fall schedule, and Michael Benson, one of the executives who was supposed to market its new shows to the masses-and it will be a year of rebuilding. Their tentpole shows are indeed aging, said Don Seaman, VP-director of communications analysis at Havas media-buying firm MPG. He suggests the younger shows that have potential will need strong sampling to gain a foothold among younger viewers. Otherwise you might be looking at a longer reclamation project for the Alphabet network, he said. Producing better-watched programming is crucial to ABCs success. ABC has seen its upfront sales

decline in recent years, according to recent estimates from Fitch Ratings. The Disney net once marched in lockstep with the arguably more stable CBS, securing about $2.5 billion in ad commitments for the 2008-2009 TV season. This year, ABC was only able to notch around $2.2 billion, according to Fitch, after falling to $2.1 billion in 2009. Meantime, lesser-ranked NBC and better-rated Fox increased their smaller totals year over year. This comes after ABC, like all the other broadcast networks, saw overall ad revenue drop in recession-plagued 2009 by 2.1%, to about $5.06 billion from $5.17 billion, according to Kantar Media. (ABCs decline was less than that experienced by any other broadcast rival that year.) ABC executives are very enthusiastic and very positive about the fall, said Geri Wang, presidentsales and marketing at ABC. She has seen high demand from advertisers for the networks older shows and noted that pricing for so-called scatter advertising, or ads purchased closer to air date, is running significantly higher than that charged during the upfront. Things seem to be on a slight rebound in 2010: The network has taken in about $3.1 billion in ad revenue during the first seven months of the year, compared with about $3.01 billion in the same period a year earlier, per Kantar. But while buyers cheer returning fare such as Dancing with the Stars, they remain cautious about ABCs new fall slate. Some of the shows in which they see the most potential are scheduled against serious challengers on rival networks. The gritty cop show Detroit 1-8-7 will compete with CBSs The Good Wife Tuesdays at 10 p.m. Likewise, the family-friendly superhero drama No Ordinary Family would have to do battle with Foxs Glee and American Idol, CBSs NCIS and NBCs The Biggest Loser on Tuesdays at 8 p.m. One potential breakout: A show called My Generation, a faux documentary-style program that purports to follow a group from Austin, Texas, when they graduate in 2000 and again a decade later. Buyers say the program is unorthodox, but that quality could help it stand apart from the usual slate of police dramas and sitcoms that populate the TV grid. Dont expect ratings to grow for Desperate Housewives and Greys Anatomy. But if ABC can maintain those shows audiences, grow last years breakout hit Modern Family and develop one or two new hits, youre having a completely different conversation, said Todd Gordon, senior VPdirector of broadcast at Interpublic Groups Initiative. To steer that conversation, the network is counting on Paul Lee, an executive who enjoyed a great run at sister cable outlet ABC Family and replaced Mr. McPherson. His decisions may not be felt until the season is well into its second half. Meanwhile, new TV seasons are fraught with failure-executives will tell you that 80% of new programs fail-and ABC asserts that if theres one constant, its change. Everyones schedule is constantly being fine-tuned, said Ms. Wang. Its a constant in the business. We take off whats not working and were always looking to improve the schedule. LOAD-DATE: September 27, 2010

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Advertising Age September 20, 2010 AGENCY NEWS; Account action SECTION: Pg. 5 Vol. 81 LENGTH: 523 words

FALL OPENS UP WITH MORE THAN $2 BILLION IN MEDIA AND CREATIVE ACCOUNT MOVES After what many agency executives described as a relatively quiet summer on the new-business front, the fall is shaping up to be a season full of activity-and high-priced activity at that. In just this past week-and-a-half, MasterCard, Advil, Red Bull, GlaxoSmithKline, 7Up, Olive Garden, Red Lobster and Dell have either shifted or put into review more than $2 billion in media and creative accounts. MASTERCARD UNITES ACCOUNTS AT INTERPUBLIC BY SHIFTING MEDIA DUTIES TO UNIVERSAL MCCANN After 15 years with Omnicom Groups GSD&M Idea City, the credit-card giant consolidated its U.S. media-planning and buying business with Interpublic Group of Cos. Universal McCann. The shift united MasterCards creative, media, PR and digital accounts under the Interpublic umbrella. AD AGE AGENCY OF THE YEAR MCGARRYBOWEN STRIKES AGAIN, NABS DR P ON HEELS OF ADVIL McGarryBowen, one of the hottest shops on the new-business front, snagged creative duties for Pfizer

pain-reliever brand Advils $80 million advertising account. WPP-owned Grey was the incumbent. The following week, Dr Pepper Snapple Group ended a 40-year relationship with WPPs Y&R, San Francisco, which moved creative duties to McGarryBowen without a review. RED BULL GIVES WINGS TO CARAT, AWARDS AEGIS ITS $50M U.S. MEDIA ACCOUNT Red Bull, the marketer that leads the nearly $3 billion energy-drink category, wrapped a review that saw its $50 million U.S. media duties shift to Aegis Carat. Independent shop Siltanen & Partners was the incumbent on the account. PHARMA GIANT GSK LAUNCHES MEGA MEDIA REVIEW FOLLOWING EUROPEAN MOVE TO STARCOM The pharmaceutical giant put its $1.4 billion U.S. media-planning and -buying account, currently handled by WPPs MediaCom, up for grabs. Its the first time GSK has reviewed the U.S. portion of its advertising account in nearly a decade, and follows a recent European media review in which GSK shifted some assignments away from MediaCom to Publicis Groupes Starcom in markets including Germany, Austria, Switzerland, Spain and Portugal. PASS THE CHEDDAR BAY BISCUITS: DARDENS RED LOBSTER & SIBS LAUNCH $300 MEDIA REVIEW Darden Restaurants announced last week that it was putting its Red Lobster, Olive Garden and LongHorn Steakhouse media accounts, which are managed by a number of different shops and total nearly $300 million, into review. The company recently wrapped up a review for creative duties on its $120 million Red Lobster creative account, which landed at Grey. DELLS EYE WANDERS FROM WPP AS IT NEARS THREE-YEAR MARK ON AD ACCOUNT Three years after the high-profile Dell/Enfatico relationship that parked the $4.5 billion account at WPP, the tech giant announced it was going to be looking elsewhere for creative chores on its consumer, small, medium and public businesses. Were doing this because we think its appropriate to continuously review our creative and weve previously talked about working outside of WPP, said Dell spokesman David Frink. The business under review is understood to be handled by WPPs Y&R, San Francisco, as well as Wunderman. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 ENCOURAGING INDIVIDUALITY KEEPS BGT STAFF LOCKED IN; Few employees ever leave this agency, thanks to an emphasis on personal growth, sharing knowledge and experience, and great benefits BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 13 Vol. 81 LENGTH: 414 words

BGT partners may not be the first job for its employees, but for many it is the last. The Miamiheadquartered interactive marketing agency has the mantra Trade your job for a career-and maintains a nearly 100% retention rate. Were usually not the first or even second agency theyve worked at, said David Clarke, cofounder and managing partner at BGT. We have a more mature and experienced staff that has seen how other agencies work. Its not about the millions of dollars, its about customer satisfaction and employee satisfaction. The agency has a flat management structure and open offices to encourage sharing of experience and knowledge. Any employee with a good idea is encouraged to speak up, and doing so can result in things such as a new job being created, a spot bonus, and/or salary increase for creativity and innovation. The entire team wants everyone to succeed, said Tara McGrath, director-professional services for BGT Chicago. Strategist Adam Nussdorfer agreed, adding, BGT encourages you to take your own initiative. If you find something you are passionate about, theyll give you everything you need to pursue it. The staff of 150 is made up of employees from around the world-at least 25 countries-and adds diversity to the culture and ideation process. The diversity of the client portfolio with so many interesting clients is another plus to working at BGT, said Mr. Nussdorfer. Teams travel back and forth from the bigger office in Miami to the smaller and newer one in Chicago, sharing enthusiasm and talent. The client teams on specific accounts are assembled with a mix of

developers, production people and strategists at the beginning of a project. Andrea Fishman, partnerVP of global strategy, said, Its never a design team that hands off a project to another team. Everyone is involved from the beginning. Art Expo Fridays are a favorite creative gathering for staffers. The weekly free lunch and a show feature bands, singers, artists and the other talents of employees performing for their peers. Other lunches feature professional-development and educational programs by staffers. BGT has given bonuses and raises every year since 1996, and covers health care and insurance 100%, Mr. Clarke said. When people can come to work and know theyre getting tuition reimbursement or health care and life insurance, especially in times like these, it makes them more productive because theyre not spending time worrying about it, Ms. Fishman said. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 EVERYONE AND NO ONE IS CREATIVE AT BIG SPACESHIP; All have ability to contribute to any and every project at the Brooklyn agency, rendering titles that pigeonhole employees meaningless BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 14 Vol. 81 LENGTH: 394 words

Digital creative agency Big Spaceship doesnt have a single person on staff with the word creative in their title. Thats because everyone is. The freedom to contribute to any and every project and idea at the agency-from intern to CEO-tops the employee list of why they love working at the Brooklyn-based agency. General Manager Jason Prohaska calls it unilateral autonomy. Chris Cocca, senior strategist, put it this way: Everyone here has actively contributed to a million ideas that have turned into great projects. And that may or may not be hyperbole. Because a million doesnt seem far off when Big Spaceship employees start talking: All of its 50 or so employees are encouraged to create and pursue passion projects at work that have ranged from stop-motion moviemaking to screen printing to origami. They also teach each other their skills formally, in designated agency sessions, or informally on a one-to-one basis, whether thats computer coding or design. Each of the six teams at the agency have created their own names, identities, logos and, in some cases, theme songs. Summer Fridays are called IP Fridays at Big Spaceship where everyone spends half a day working on the agencys own projects. There is a key recognition that people are here because they want to make great things, said CEO Michael Lebowitz. In order to make the best work, you have to work in the best place. He credits the team system in helping to create a culture of cross-pollinated talents and good friends. If all the designers sit together, you get a culture of departments. And departments, in my mind, lead to fractiousness, Mr. Lebowitz said. The six agency teams are also not built around clients, but rather stay together as cross-disciplinary units, with the ability to lend out individuals to other teams when needed, and they travel from project to project. At least one person from each of its key disciplines-design, technology, strategy and production-are on each team. All that typical digital agency stuff like foosball tables or kegs every day or a masseuse or who knows what; all that stuff is nice and cool and one of the perks to this industry to begin with, said Jamie Kosoy, associate tech director. But you could take all that stuff away and I still think Big Spaceship would be the coolest place to work. Its something else. Its an ethos. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 PR BEHEMOTH EDELMAN KEEPS CULTURE CONSISTENT; With offices around the globe, the company employs thousands but manages to keep all united in a singular goal of exemplary client service BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 16 Vol. 81 LENGTH: 386 words

With well over 3,000 employees in more than 50 countries around the globe, maintaining a consistent culture and innovative workplace would seem difficult, if not impossible, for Edelman, a large, independent public-relations agency. But Edelman employees dont seem to know that. It doesnt matter what level of the organization youre in, if you have the best idea, the best idea wins, said Conroy Boxhill, VP in the corporate and public-affairs practice. Were also always being encouraged to take risks. That comes from Richard (Edelman, CEO), but it trickles down to every level. Mr. Edelman, in fact, is another plus, employees said. Recently named one of the 10 most popular bosses in America by online career community Glassdoor, respect and admiration for him and his founding family, and the family atmosphere that it fosters, permeate the organization. Lisa Levandowski, senior account supervisor, noted that last year at the Leadership Academy, an annual confab of selected employees, she not only networked with global colleagues, but also went to the home of founder Daniel Edelman (Richards father) for cocktails and conversation. She listed mentors, the emphasis on education, technology innovation and tools, and transparency from top to bottom as some of the reasons she enjoys working at Edelman. She is also about to take part in her current favorite perk and one of Edelmans newest programs, called the Edelman Fellows, in which a handful of executives will go to work in various global offices for about 18 months. Employees are also recognized and rewarded formally for creativity and innovation. The Edelman Quality Awards are given to seven individuals each year for exemplary client service, an innovative initiative and for setting the standard for quality at the firm. The Eddy Awards recognize six

employees for consistent effort in advancing the caliber of Edelmans work. Kristine Boyden, exec VP-global client relations manager, has a unique perspective on Edelman, as she joined through an acquisition of tech-specialty agency A&R Partners four years ago. You can see a future here. There is a challenging environment for everyone, a strong belief in and by the management team, and you feel supported every day in the way you serve the client. Were all in it together, she said. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 BEHIND ADS FRIVOLITY, GO DADDY IS SERIOUS BUSINESS; A work-hard, play-hard environment characterizes the domain registrar, a marketer that invests in its employees to yield the best work BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 16 Vol. 81 LENGTH: 384 words

If you only know about domain registrar Go Daddy from its Super Bowl commercials and controversies, you might mistakenly think its employees are more likely to post pin-up calendars and hold keg parties than join culture committees and brag about the companys annual Tech Fest and generous health and vacation benefits.

Yet the latter is exactly what Go Daddy employees do. Most of the people at Go Daddy are very customer-focused and innovative, and think outside the box. I myself like to move around and try different things, and theyre very open to that. The company likes to promote from within, said Marianne Curran, exec VP-media and communications, who is an eight-year veteran of Go Daddy and also heads up the culture team. Indeed, in the first half of 2009, more than 260 employees were promoted to new positions; employees who refer new hires receive bonuses of $500 to $1,000. Go Daddy, with more than 2,700 employees and offices in Iowa and Colorado and headquarters in Scottsdale, Ariz., is a work-hard, play-hard environment, said Barry Satterfield, creative directormarketing. He credits the cultural flexibility and freedom that employees are given as key to not only Go Daddys marketing success, but also their career satisfaction. We all feel that they invest back in us as employees, he said. A recent Bob Parsons video-blog post titled Why you should quit your job offered a glimpse of the CEO-founders workplace. In the video, he says that you shouldnt actually quit your job, but rather, after eight to 10 hours on the job, you should do things like go out and have some fun, exercise, find a hobby and get a good nights sleep-all in the name of recharging and being more creative and productive when you are at work, he explained. Some of the perks that the employees enjoy include fully paid health benefits, ample vacation time (six weeks after five years), smartphone reimbursement, and prize giveaways at annual retreats and company get-togethers. Managers are also given $50 per month per employee for team building, generally with little restrictions. Teams have gone whitewater rafting, skydiving, skiing and on spa day trips. Go Daddy helped out during the Iowa floods of 2008 (while fellow employees in Colorado and Arizona volunteered extra time to back them up). LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 BEST PLACES TO WORK; Freedom to move, think, create and communicate define the 30 agencies, marketing companies and media firms on our inaugural list of the best industry employers BYLINE: JENNIFER ROONEY; JROONEY@ADAGE.COM SECTION: Pg. 12 Vol. 81 LENGTH: 563 words

The recession of the past few years has forced great challenges upon the employed and unemployed alike in the media, marketing and advertising industry, as the jobless hunt relentlessly for new opportunities and many of the employed, fearing pink slips, find themselves locked into jobs that offer little or no career growth, flexibility or psychic income. But despite or even in light of economic challenges, there are companies that are thriving in their commitments to their employees and to their work. They are workplaces that cultivate camaraderie, reward creativity and spur innovation. Theyre winning accounts, customers and talent eager to contribute to organizations they believe in. And those are the Best Places to Work in Marketing & Media. This list, Advertising Ages first, is a celebration of the 30 employers in the marketing, media and advertising industry that have created environments in which people love to work and contribute their best ideas. Identifying and recognizing these employers is a joint effort of Advertising Age and Best Companies Group, a firm that conducts best places to work programs across the country. The Best Places to Work in Marketing & Media program was open to all publicly or privately held advertising agencies, media organizations and companies with marketing operations of more than 25 employees. Each applicant must have had at least 25 employees working in the United States to be eligible. BCG managed the registration process, conducted a two-part survey process, evaluated data and ultimately chose the companies that were good enough to make the list. The deadline to sign up for the program was April 30. Part one of the assessment (three-quarters of each companys score) involved a confidential 76question survey that was used to evaluate the employees workplace experience and company culture. Part two of the assessment (one-quarter of each companys score) consisted of a questionnaire used to collect information about each companys benefits, policies, practices and other general information. The combined sets of data enabled BCG reviewers to conduct an in-depth analysis of

each companys strengths and offerings. Program participation was free; each organization had the opportunity to purchase a report summarizing the employee data collected through the employee survey process. In addition to the employee-opinion data, the report also included transcribed employee-written comments, as well as the marketing and media industry benchmarking data from the participating and winning companies. The 30 companies presented here, listed alphabetically-and we profiled 10 of them-are indeed innovators, arguably benchmarks against which other employers can measure themselves. These companies simultaneously nurture employees, clients and their communities with things like diversity programs, family-friendly benefits, education reimbursement and workspaces designed to stimulate creativity. There will be names in this list that you are familiar with, and names youve never heard of. Theyre based in New York, San Francisco and everywhere in between. Some are large, with multiple locations, and others are small, single-office shops. But they all have one thing in common: Theyre committed to being the top employers in this industry. Thank you, participants, and congratulations to our 30 best places to work. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; BGT PARTNERS SECTION: Pg. 13 Vol. 81 LENGTH: 80 words

LOCATION: Headquartered in Miami, with offices in Chicago, Los Angeles and New York EMPLOYEES: 150 GIVING BACK: Donates $1 to Susan G. Komen for the Cure for every new Facebook like of the agency. Also partners with Junior Achievement and donates to causes including Special Olympics, Chicago Cares, Revlon Walk for Women, March of Dimes and the Michael J. Fox Foundation. Recently instituted an environmentally friendly office infrastruture to reduce the agencys carbon footprint. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; BIG SPACESHIP SECTION: Pg. 14 Vol. 81 LENGTH: 64 words

LOCATION: Brooklyn, N.Y. EMPLOYEES: 50 GIVING BACK: Charitable contributions are made based on staff input regarding whats valuable or personal to them, and has included donating office furniture and participating in NY Cares Coat Drives. A green committee was created to reduce the impact of work activities, and includes such things as recycling and supplying reusable plates and cutlery.

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Advertising Age September 20, 2010 Ad probe spotlights murky media practices in China; Hot competition, broad expansion and high stakes fuel illicit trading deals in $45B ad market BYLINE: NORMANDY MADDEN; NMADDEN@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 936 words

A scandal unfolding in China that involves kickbacks, money laundering and prostitution at a five-star hotel in has set off a firestorm in the countrys ad industry-but more broadly is shining a light on the unusual media relationships that often foster media corruption in the country, one of the worlds most promising ad markets. At the center of the investigation is Zheng Zhixiang, who works for media-brokerage firm Chongqing Huayu. He is accused of laundering money through a brothel in the basement bar of a Hilton Hotel in Chongqing. Because Mr. Zheng was a broker for Publicis in Chongqing, a paper trail in a government investigation led to a pair of prominent agency executives: Vivakis China CEO Warren Hui and his colleague, Ye Pengtao. Two weeks ago, government investigators detained Messrs. Hui and Ye for extensive questioning about their involvement with Mr. Zheng. The two execs have not been charged with anything and Mr. Zhengs Huayu media brokerage worked with other agencies too, not just Vivaki. Vivaki Exchange

buys media for Publicis Groupes media divisions like Digitas, Starcom MediaVest Group and ZenithOptimedia. Other Vivaki executives are handling daily China operations, and contrary to local news reports, the two men have not been fired. Vivakis chairman for Greater China, Beijing-based Yifei Li, referred questions to the agencys PR firm in China, MS&L, another Publicis division. They are still with the company. We know there is a police investigation but when we try to get more information, we cant, because [Vivaki] is not directly involved, said Benjamin Tan, managing director, MS&L, Shanghai. We dont know what happened, so we dont want to make a decision [about their future]. Details aside, media corruption has been a not-particularly-well-kept secret in China for years, and companies, not just individuals, are involved. Industry execs estimate more than half of the revenue earned by multinational media agencies in China comes from media owners rather than clients budgets. Thats corporate corruption, not personal corruption, said a media industry veteran in Shanghai. In China most multinational media agencies buy media through sub-contractors (in this case, Mr. Zhengs Huayu) in a complicated system that resembles banks and commodities brokers who make money on margins. One of the perks of using brokers is their ability to store cash earned from rebates and discounts far from the prying eyes of industry auditors, tax authorities and clients. An advertisers media budget commonly gets chipped away at several points before it ends up with a TV station, outdoor media vendor or publisher, starting with the initial media negotiation, followed by a scheduling discussion and then the final deal for payment terms. Media buyers, brokers and owners often make private arrangements that are seldom reported back to the advertiser. Individuals and agencies pocket the difference. No one can stop these individual deals, because you cant be with people 24 hours per day and control what happens under the table, literally, at a restaurant after a deal is done, said a media expert in Shanghai. The scandal Vivaki is embroiled in has placed an unwelcome spotlight on that practice and is bad for the industry. It creates mistrust between agencies and clients, said Quinn Taw, a venture capitalist in Beijing who has worked at GroupM, Zenith Media and China Media Exchange, or CMX, the former name of Vivaki Exchange before a rebranding in January 2010. Advertisers will start looking at rebates and conducting quiet audits. They should look at their media business, but they should also look internally, Mr. Taw said. Some suggest that across China media directors and brand managers at multinational companies could be padding personal bank accounts as well. As executives at multinational marketers get savvier about China and better understand the risks involved, they are putting in place checks and controls to regulate their media cash flow. Some companies like Procter & Gamble Co. and Coca-Cola Co. are taking strong initiatives to take efforts to prevent this by engaging in three-way negotiations, said Greg Paull, a Beijing-based principal at R3, a consultancy that specializes in agency-client relationships. To be effective [as a client] you need to have a seat at the table. But marketers still find it hard to pull the plug on illicit trading deals for several reasons: China is

becoming more competitive as well as more fragmented with the rise in digital media, driving buyers and sellers to further bend the rules. As there are more options for spending ad dollars, sellers get more creative about kickbacks and other incentives they can offer to agencies. These sorts of things didnt happen 20 years ago when there was only [state-owned national TV network] CCTV to deal with. The problem is that the media sector is getting bigger and more competitive, so there is more pressure on media venders to look for competitive edges, said Mr. Paul. Further, marketers are moving more deeply into Chinas harder-to-police second, third and fourth-tier cities, where transparency issues are even murkier than in Shanghai and Beijing. Chongqing, for instance, has a population of more than 5 million in the city itself and over 30 million in the greater urban area, and is considered a second-tier city. Finally, enormous amounts of money are pouring into Chinese media. Measured media spending in China will reach $45.1 billion in 2010, according to GroupM, a 16% increase over last year, and is likely to hit $49.9 billion in 2011. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; THE CONCEPT FARM SECTION: Pg. 14 Vol. 81 LENGTH: 70 words

LOCATION: New York EMPLOYEES: 48 GIVING BACK: The Concept Farm works on a discounted basis with organizations such as Greenpeace, The American Heart Association, The United Nations Environment Programme and the National Womens Law Center (NWLC). We work a crazy amount of hours in this business, so it can be hard to give back outside the office, Mr. Weintraub said. What a pleasure to be able to give back in the office. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 CREATIVE EXODUS IN ADLAND: ITS JUST NOT FUN ANYMORE; Graf, Montague, Bogusky, Hirshberg -a parade of top talent departs big agencies, or the industry altogether BYLINE: MATTHEW CREAMER SECTION: Pg. 1 Vol. 81 LENGTH: 2518 words

Late one night about three weeks ago, Gerry Graf had a bit of a freak-out. The highly respected and much-awarded creative director had left a fat-salaried, high-profile job at a very large ad agency for the vagaries of the startup life and he was, understandably, feeling edgy. The next day he phoned up David Droga, who had taken a similar risk four years ago, and went over to

Droga5s New York office on Lafayette Street, which now hosts 120 people serving a client list that includes Puma, Unilever and Microsoft. Mr. Drogas advice for Mr. Graf went something like this: Not all the stars will line up at once, you dont need a wacky point of view, get yourself a strong business partner and dont pitch unless you get paid. In other words, as Mr. Droga put it to me in an interview recalling the meeting, Youre nobodys bitch. That might as well be the ad business motto in 2010. Since the beginning of the year, a veritable Cannes jury worth of senior creative talent has shrugged off the leashes of big agency networks for their own startups or for creative pursuits outside the ad industry. A month before Mr. Grafs news broke, Ty Montague and co-CEO Rosemarie Ryan announced their departure from JWTs North American office and later started a collaborative brand studio dubbed Co. In July, Alex Bogusky told the world he was leaving MDC Partners to do whatever it is hes doing. Meanwhile, Eric Hirshberg ended a highly successful run at Deutsch, L.A., to go into the video-game industry. And just this month, Eric Silver left DDB, New York, to buy a majority stake in a small agency. Longtime agency watchers will say this kind of churn has always been part of agency life, but to dismiss the trend as part of some cycle is ignoring some key questions that agencies need to answer. After all, the pressure on these companies business model is intense. While the economic gloom might be lifting, for most it still lingers and, besides that, agencies are getting hit from all sides: Costcutting, conservative clients; procurement officers; more competition from small and midsize shops; newfangled concepts such as crowdsourcing agencies; and a business model still very reliant on the production of ads, not ideas. I cant quantify this, but I have a strong feeling that the business is getting harder, said Kevin Roddy, chief creative officer at BBH, New York. Clients dont strongly believe were capable of doing things that they cant, and theyre more inclined to view us as vendors rather than partners. The result is that big agencies arent the most hospitable place for the creative mind, but, then again, they never really have been. Thats why Mad Men makes all those jokes at the expense of Grey and its ilk, depicted as places to cash in your chips and lounge with models, or perhaps with all the retarded people said to work at McCann. The difference now is that the paychecks and the profile arent making up for the deficiencies as incubators of breakthrough commercial ideas. And its getting more difficult to retain the big names who can do the thousand things that now make up the role of creative management. THE NEW REALITY You cant, of course, talk about this stuff without talking about the economy. Last year was brutal for ad agencies, with the worlds 10 largest suffering significant-in some cases double-digit-declines in revenue, according to the Ad Age Datacenter. Psychologically, it was a bottoming-out, a period in which people were either just happy to have a job or too busy firing other people to quit. In 2010, reports of a recovery have been, in the best case, mildly exaggerated, and in the worst contradicted entirely by fears that the economy is once again slipping. Jobs havent come back and

neither has consumer spending, so marketers are being conservative. You can see this in a number of trends: the decline of secure agency-of-record relationships and the consequent rise of looser arrangements that see clients parcel out work to a large group of agencies forced to compete for project work; the proliferation of specialist shops expert in one discipline, especially true in digital marketing; marketers willingness to experiment with nonagency solutions like crowdsourcing. One agency CEO, who remained anonymous for fear of jettisoning all revenue from his company, put it like this: Hal Riney and Phil Dusenberry were treated differently. Business then was much more civil and respectful. Now we work in an incredibly disrespectful environment. Clients are know-itall assholes, with the exceptions being few and far between. Theres a lot of greed operating under the guise of ideas like efficiency and creating shareholder value and that grinds away at character. I asked Mr. Roddy what all this does to your typical hyper-talented creative manager. Creativity used to be put on a pedestal, and I dont think thats the case anymore, he said. Creative people have become more of a commodity, and I think that takes the wind out of them. The creative ego is a very important thing, because it drives talent. But its also a very fragile thing. Mr. Graf might be the best example of this struggle. Known around the business as a relentlessly innovative creator who, as one executive put it, doesnt want to play the game, Mr. Graf has, in a long career thats spanned Goodby Silverstein, BBDO, TBWA and most recently Saatchi & Saatchi, racked up plenty of breakthrough ideas, among them stunning work for brands such as Snickers and Skittles. Thats not easy. He came out of his Saatchi experience with the realization that, Id just rather be making stuff. With that, its not surprising that Mr. Graf isnt now armed with a complex new model or anything approaching one (though he is interested in exploring new compensation models and intellectualproperty arrangements where it makes sense). We live in a time when the best idea wins, and scale doesnt matter much to the idea. To that end, his new shop,Barton F. Graf 9000 (a reference to his father and to a weapon from the video game Doom, the BFG9000), due later this year, will strive for agency-of-record relationships and also do consulting and writing projects. Roger Camp, whos earned his fair share of hardware-including more British D&AD awards than any other American art director-is leaving his chief creative officer post at Publicis Hal Riney on Oct. 1. I did a couple of interviews at big places for jobs which are conceivably some of the best out there, and I left feeling like thats not really what I want. By all accounts, I should have been over the moon, and I wasnt. Those big-agency jobs were already defined, and Im looking to define the thing I want rather than fit someone elses mold of whats already been established. Mr. Camp said thats the reason hes not the only one running for the exit door. People are looking to create new models, and thats easier to do than taking existing structures and trying to reshape them. For the unhappy creative mind still toiling in a big agency, there are two choices: You can either, in Freudian terms, sublimate that ego or, in Lebronian lingo, you can take your talents elsewhere. These days, theres a not-insignificant amount of funding chasing innovative agency models. One example is Jon Bond, a cofounder of Kirshenbaum Bond & Partners who recently left the shop and now has a

$100 million fund to invest in agencies. Then there are more traditional sources, such as holding companies like WPP, Omnicom and MDC, known to be out scouting for new models. MDC, the owner of Mr. Bonds old shop, has even started a contest that will award $1 million for the best new agency concept, in which itll hold a 51% stake. The set of choices for agencies that need strong creative managers might be a bit smaller, stuck as they are between job requirements that appear to be in opposition. On one hand, agencies need the flash that a heavily awarded, famous chief creative officer can provide. On the other, theres the need for someone who wants to take on the many, many responsibilities that come with running a large creative department servicing big international clients. Generally speaking, people dont become copywriters or art directors because they want to someday sit in an endless rotation of endless meetings, hopscotch from airport to airport, handle clients, manage a profit-and-loss statement and only touch the work when its time to put it on an awards submission reel. Those people got into the business because they want to make stuff. When Ad Age reported that Eric Silver was leaving the New York office of DDB to take a majority stake in the 34-person Amalgamated, Mr. Silver had this to say: I wasnt having that much fun at my last job, and when youre not having fun, youre not doing your best work. He added: As you climb the corporate ladder, its easy to lose sight of why you got into the industry to start, and this is as excited as Ive felt in a long time. By now-and certainly after the news of the past few months that suggests a kind of burnout is going on-its becoming clear that agencies cant go on with the same job description. Theres a balance between hiring a star-the kickass creative director everyones talking about-and hiring someone whos ready for life in the big agencies, said Anne-Marie Marcus, CEO and owner of the recruiting firm Marcus St. Jean. Too often, that is not the life these guys want. Big clients, a lot of meetings, not a lot of fun. This is not like working at Cliff Freeman. These are serious jobs. Ms. Marcus big piece of advice for agencies is that agencies decide whether they want someone who can be easily plugged into an existing culture or someone theyre willing to build around. In the latter case, its about using them for what they do and surrounding them with the right support system. And thats not an easy task when so often one of the jobs of a big creative hire is to come in and quickly turn around a massive agency or, at the very least, its creative reputation. If agencies were easy to change, these guys-or their roles-wouldnt be necessary. Another big question sitting before agencies is whether some of these roles have gotten too big for a single person to handle. Said Mr. Roddy, It depends on the individual. Smart ones surround themselves with smart people who do the things they cant or dont have time for. The thing about creative management is that youve gotta let go and not try to do it all yourself. By all accounts, agencies are not finding it easy to replace those who have left, with some searches going on for months and months. There are many reasons for this, from a paucity of good candidates to more practical realities, not least the housing-market collapse making it difficult for people who would need to move to take on a new role. While Saatchi quickly named a replacement for Mr. Graf, searches are still going on at JWT, McCann, Deutsch and Euro RSCG.

Colleen DeCourcy, who left her role as chief digital officer of TBWA in July and now has funding to start a shop, said shes received a few calls for various creative jobs, for which, she freely acknowledges, she is not qualified. Ive never made a TV spot in my life. She has, however, strategized any number of digital programs, experience thats increasingly in demand and related to an important trend: the rise of specialists. The vast increase in the number of channels available to reach consumers means that no one agency can master all, opening the doors for experts dedicated to any number of disciplines, from mobile and application development to branded content to crowdsourcing to word-of mouth. The model unveiled last week by Mr. Montague and Ms. Ryan is in part an attempt to foster and manage that collaboration for clients, and you can bet Ms. DeCourcys shop will take advantage of what she called the many gaps in the market. A FULL BREAK Different from the mindset of the creative director who decides to go smaller is that of the one who leaves the business altogether. Cue Eric Hirshberg, a rare ad creative who has successfully moved on to a parallel creative industry-in this case, the video-game business. In an interview, he said his decision to become CEO of Activision Publishing was a tough one, even though its a dream job for a gamer. Mr. Hirshberg was very insistent that his move did not come from dissatisfaction with the agency business but, at the same time, he spoke admiringly of some of the disruptions going on in the market. This is not a comment on Deutsch or Interpublic, but the startup trend is great because it recognizes that, at its heart, this is a boutique business based on creative personalities. The holding-company model naturally tries to mechanize and systemize things. Agencies need to continue to be boutiques. I think that is one of the reasons Deutsch L.A. has always thrived. We were always allowed to be us. Mr. Hirshberg gives no quarter to suggestions that the adagency business has gotten too rough. Advertising can be a fatiguing way to go through the world. Its a high-stress, high-intensity path, but its always been like that. To me, changes to the business model or economy havent changed that. The challenge has always been to get a great piece of work through the labyrinth. Thats hard, and rewarding, but nothing new. That might be true, but for the up-and-comers who are the ad business future, it also might not be especially relevant. I recently had separate chats with two ad guys in their 20s who have good strategic jobs that keep them close to the work at growing digitally-focused shops with full client lists and strong case studies. These are smart, ambitious thinkers with the right understanding of where the business needs to go. Each has already flirted with the idea of taking important roles at big agencies and the future will probably be relatively kind to them, but instead of focusing on that, they echo the same complaints associated with these senior folks: the limits of client-service models, difficulty to find the time or buy-in for innovation. Neither can really imagine long careers in this or any other client-service business-not when there are Facebooks to be built. Platform and product-development is where its at in their minds, the kind of work that allows you to make money while asleep. And advertising will pay the bills until the right idea-and the right deal with the right backer-comes along. This, of course, might be idle kvetching that falls squarely into the category of first-world

problems-what the Urban Dictionary defines as problems from living in a wealthy, industrialized nation that Third-Worlders would probably roll their eyes at. Or it might be the beginning of a cascade of decisions that will lead them to go the route of an Alex Bogusky, whose oft-told tale does not need to appear here. His recent change to his Twitter bio says it all: I worked in advertising for 20-plus years. That was fun. Still enjoy culture jamming. CONTRIBUTING: RUPAL PAREKH LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; EDELMAN SECTION: Pg. 16 Vol. 81 LENGTH: 83 words

LOCATION: Co-headquartered in New York and Chicago; 52 offices worldwide EMPLOYEES: 3,300 GIVING BACK: Contributed about $300,000 to specific organizations, as well as significant staff time to a variety of causes. Community-service initiatives are handled on an office-by-office basis, and each U.S. Edelman office provides pro-bono support to local and national institutions. For

example, the San Francisco office works with the Bay Area Council to provide research, brand strategy and visual identity. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 HOW YOUR LIKES ARE TURNING FACEBOOK INTO THE LOYALTY CARD OF THE INTERNET; Brands such as Levis, Urban Outfitters are using the clicks of approval to tailor marketing, but will they scare consumers? BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 733 words

Facebook has been collecting thumbs up on everything from Levis black denim leggings to Sarah Palin videos since April. But where do all those clicks of approval go? And when are brands going to benefit? When the social network launched its open graph and like buttons that could be seeded anywhere across the internet, it began to layer brand and media preferences onto its more than half-billion user profiles. At the time of the announcement, Facebook CEO Mark Zuckerberg evangelized about a web that could morph to suit individual users likes and social networks. In exchange for hosting its like buttons and spreading the gospel, brands and publishers could gain access to approving users Facebook feeds, but not much else-until recently. Now, some new programs from the likes of

shopping search engine TheFind and Urban Outfitters point to a future where brands can actually flip the pipe to use all that data to personalize their own websites. TheFind recently launched a search option where users could refine searches based on stores and brands theyve liked elsewhere on the internet. After logging in with Facebook credentials and searching for products, users can visit a Shop Like Me tab to see results only from stores or brands theyve liked elsewhere. Facebook Like lets the site tailor search results to user preferences without having to collect that information itself, said Siva Kumar, CEO of TheFind, which had 13.7 million unique visitors in July, according to ComScore. Having users list their own preferences at TheFind is a lot of work for people, he said. We looked at likes and what was attractive is that there are 500 million users that have done a lot of that already. Two million of Facebooks users, for example, have liked Nike, 1.6 million have liked Walmart and 1.2 million have liked Best Buy. Facebook is becoming the loyalty card of the internet, just like your key chain, said Tom Wentworth, VP-web solutions for technology company Ektron, which is developing products for corporate websites to tailor visits based on the users social graph. Mr. Wentworth says Home Depot is considering Ektrons technology to better send its consumers down the paths that suit their interests, whether they be gardening or contracting. Levi Strauss integrated Facebook likes into its website shortly after the open graph launched. Rather than having consumers simply like the brand, users can like individual products and styles on jeans. Theres also a friends search tab, where, once signed in with your Facebook login, you can see all the jeans your friends have liked. But Mr. Zuckerbergs vision of a personal web doesnt come without hurdles. Levis likes for individual products took a lot of custom-designed technological tinkering-it wasnt as simple as dropping the thumbs up in a line of code. Bookseller Borders has also implemented likes for individual titles on its site, and Urban Outfitters recently began to rank products based on likes, displaying the most thumbs-upped products first. But most use of the feature still focuses on affinity for the overall brand, vs. distinct products or services. Adding the buttons is easy, said Mr. Kumar. But the second part is using that information for a better experience, and very few sites have done that. Beyond search, one Facebook software firm, Vitrue, is building tools to let marketers send distinct messages to its fans based on their likes and preferences. For example, it hopes to slice and dice Levis fans based on products theyve liked to serve legging coupons to legging likers, rather than all sales and promotions to all likers. The hurdle with large brands is one more of coordination between the marketing department and the IT department, said Vitrues Mr. Bradford. Marketing owns the Facebook pages and, in many cases, IT owns the website. Theres also the question of consumer adoption-do people think of likes as a way to catalog the boots they loved in Vogue, when were used to using the like button to applaud Facebook updates on promotions at work or changed-relationship statuses? Also, what happens when likes paint us into

corners that limit our web surfing? Its both about not scaring people but the other area to watch out is, if you personalize too much, it can be dangerous, said Ektrons Mr. Wentworth. You dont want to make premature assumptions about somebody. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; GO DADDY SECTION: Pg. 16 Vol. 81 LENGTH: 81 words

LOCATION: Headquartered in Scottsdale, Ariz.; with offices in Iowa, Colorado, Washington, D.C., Toronto, the Netherlands and Singapore EMPLOYEES: 2,729 GIVING BACK: Champions a safer and secure internet with frequent Washington testimony and lobbying. Donated more than $2.5 million last year to a variety of causes. More than 750 employees and friends participated in the Juvenile Diabetes Research Foundation Walk for the Cure last year, an annual event that the company also sponsors. LOAD-DATE: September 27, 2010

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Advertising Age September 20, 2010 Best Places To Work; HIEBING SECTION: Pg. 18 Vol. 81 LENGTH: 66 words

LOCATION: Madison, Wis. EMPLOYEES: 55 GIVING BACK: The integrated marketing and advertising agencys 2010 pro-bono efforts include work for charities such as the Boys & Girls Club of Dane County, Big City Mountaineers and the United Way of Dane County. Hiebings green practices include recycling, energy-saving campaigns and encouraging environmentally friendly bicycling as a way to commute to work. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; MCKINNEY SECTION: Pg. 18 Vol. 81 LENGTH: 83 words

LOCATION: Durham, N.C. EMPLOYEES: 230 GIVING BACK: Since 2006, McKinney has hosted the Triangle Corporate Battle of the Bands, where local corporate bands compete to raise funds for charity. Taken together, the Battles have raised more than $300,000. (McKinneys band Role Playaz won this year.) Proceeds were directed to a program from educational institution The Hill Center, whose Operation Literacy program provides children in the Durham Public Schools with individualized, after-school tutoring. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

September 20, 2010 Mass of metrics may mean marketers know less; Standards board to create meaningful, predictive measurement system BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 5 Vol. 81 LENGTH: 862 words

In a classic case of more not necessarily being better, the rise of digital and social media has spawned a host of new metrics and measurement systems. Whether marketers really know more as a result is more doubtful, however, giving rise to efforts to validate which metrics are really worthwhile. Perhaps the most ambitious of those efforts-the Marketing Accountability Standards Board-got a boost last month with the addition of Coca-Cola Co. as a charter member, joining Kimberly-Clark Corp. and ConAgra Foods among marketers on a group that also counts numerous academics, Publicis Groupes Starcom MediaVest Group and the Association of National Advertisers among members. MASB is striving to create a set of metrics generally recognized as meaningful and predictive, much like the Financial Accounting Standard Board has tried to do over the years with accounting metrics or the International Standards Organization has done with quality-control metrics. MASB is even in talks with FASB about aligning their efforts. But even Meg Blair, founder of copy-testing firm ARS Group, now a unit of ComScore, and president of the nonprofit group behind MASB, acknowledges that nearly a decade into a process she helped lead that it could be a couple more decades before marketing metrics get to the level of validation that financial or quality metrics have now. She believes the payoff for the industry from that progress could be profound-giving marketers, and specifically chief marketing officers, the sort of credibility and clout that chief financial officers enjoy today. To be sure, theres growing recognition that the industrys bounty of metrics hasnt necessarily made marketing better. Whats making everything much more murky is the amount of data thats available today, said media consultant Erwin Ephron. It just blows the mind. Its very hard to think constructively about media planning when you have 500 different research sources telling you whats going on, because you can prove anything you want. We need to get back to a simple set of measurements that in fact identify response. Marketers have made a lot of things very complex, not just the metrics, said Stewart Atkinson, VPglobal brand building purchases for Procter & Gamble Co. The metric piece is driven by the growing number of things we have to measure as media fragments. We do need to find a better way to

measure across the world of media. And I think eventually we are going to get there. A fundamental problem across all metrics is settling for what actually can be measured rather than measuring what actually contributes to the ultimate goal: sales, Mr. Ephron said. So TV ratings, for example, measure presence in front of a TV as opposed to open eyes facing a TV screen, a definition developed five years ago by the Advertising Research Foundation and which is more like what he believes advertisers hope theyre paying for. Despite numerous studies showing clicks on banner ads have little to do with whether people purchase the advertised products or services when the products and services arent sold online, marketers continue to pay attention to the metric, because its easy to measure, whereas online audiences or their offline purchase behavior are less so. But the path to better and generally-validated metrics can get bogged down in the weeds pretty quickly. The Coalition for Innovation in Media Measurement, spawned with much fanfare last year, has focused fairly narrowly so far on developing a lexicon for set-top-box TV data and compiling other information from cable providers regarding their systems. MASB, about six years into its work and about 10 after it was spawned by a group called the Boardroom Project, isnt focusing so much on vetting a broad range of metrics as setting a direction by which metrics should be judged. In a nutshell, the group has determined that marketing metrics should all ultimately measure success in terms of whether the activity leads to increased cash flow. And its established a Marketing Metrics Audit Protocol for judging whether metrics do that. To that end, the group has validated that surveys of brand preference do in fact correlate with market share, which in turn correlates with cash flow-hence making them a useful metric. But with only three marketers on board at this point, and a whole lot of metrics left to evaluate, theres plenty left to do. I am pleased with the progress, but I am by character an impatient person and wish we had made more, said David Stewart, dean of the graduate school of management at University of CaliforniaRiverside and chair of the MASB. I view marketing today as being in much the same place that the quality movement was 50 years ago, he said. People were still talking about how you couldnt have standardized measures and how could the same measures apply in pharmaceuticals and the steel industry. Of course, now, everybody is into six sigma and are applying a common set of processes and metrics. I think thats where were evolving to in marketing. Being impatient, he hopes that doesnt take another five decades. Being realistic, he believes it may be another two decades. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH

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Advertising Age September 20, 2010 Why Disney Pictures could soon look a lot like Procter & Gamble; Naked vet Carney appoints brand leads for releases, aims for longer lead times for campaigns BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 1098 words

M.T. Carney is perhaps the most closely watched marketer right now in Hollywood, a town that loves to watch outsiders stumble. Its been nearly four months since Ms. Carney, a founding partner of U.K.-based Naked Communications U.S. outpost, joined Disney Pictures as president-marketing, and shes already been skewered for flubbing one of the first major releases she oversaw, The Sorcerers Apprentice, which has grossed a disappointing $62 million domestically after its July 14 release, earning her the skepticism of one of Disneys biggest producers in the process. But like a thriller-movie plotline, the question is whether there were actually missteps, or whether its a case of the industry rushing to judgment before the marketing model she is trying to put in place has taken hold. Ms. Carney made headlines recently after a Sept. 7 story in The Hollywood Reporter announced her appointment of an outside marketing consultant (Sonys former marketing co-president, Valerie Van Galder) to run the campaign for the third sequel in the supremely profitable Pirates of the Caribbean franchise, produced by Jerry Bruckheimer Films. Mr. Bruckheimer, who produced Apprentice as well as Mays Prince of Persia, both of which were seen as box-office disappointments, told the trade that Ms. Carney came to the party late and that he felt the movies suffered for being caught in between regime changes. A spokesman for Mr. Bruckheimer declined to

comment further, referring to the previous article. She kind of had the cards stacked against her, said one marketing exec at a rival studio. Any time you have an inherited slate, and producers breathing down your neck, no amount of paid tweets or flashy social-media campaign can make you look like a rock star unless the first movies are really good. And she had a challenging [lineup]. Shes also trying to bring a more agency-like approach to marketing at Disney, which will soon release the first slate of films from new studio Chairman Rich Ross, who joined last October from the Disney Channel. She has appointed brand leads for each of the studios releases across its Disney, Touchstone Pictures, Pixar and DreamWorks divisions. In June, she tapped former Fox and Universal exec Kevin Campbell as her exec VP-marketing, overseeing all the DreamWorks Studios titles released under the Touchstone banner. She also appointed marketing leads for the studios live-action and animation divisions. And Ms. Carney contends she invited Ms. Van Galder on her own accord, despite Mr. Bruckheimers comments to the Hollywood Reporter. Building a marketing team is like putting together a soccer team-youre only as good as the people youre playing with, Ms. Carney told Ad Age. Multiple executives from other studios told Ad Age that the practice of hiring an outside consultant to lead the strategy for a tentpole film is fairly uncommon, though its not unheard of to outsource an awards-season strategy to a third party or ask for an extra pair of eyes on a franchise property. It may send a signal to some that Carney needs some guidance, but marketing any film has many credited and uncredited heroes, said one executive at a rival studio. Are the myriad of creative vendors that studios hire consultants? A key priority for Mr. Ross as he prepares to greenlight his first full slate as chairman (not to mention oversee the studios recently completed $4 billion acquisition of Marvel Studios) is to find films and create franchises that play well internationally. Mr. Ross told Ad Age in May that Ms. Carneys background was ideal to help him realize this strategy. Shes Scottish, so you know that shes somebody that comes from another world, he said. Were in a global business, so you need someone that knows how to create ideas that go all over the world. Being an innovative marketer has also been at the top of Ms. Carneys list. Disney was a launch sponsor of Apples iAd platform, and Ms. Carney oversaw the companys launch sponsorship of Twitters Promoted Tweets platform, an experiment she said was overhyped in the trade press for having a profound impact on the success of this summers Toy Story 3. We will continue to try to do things in a new way if theyre appropriate to our audience and there is an opportunity to test. The Twitter test was only 50,000 people-the fact that it created such a stir is a testament to the power of Twitter, at least within the marketing community, she said. But one perspective Ms. Carney said she wont be changing any time soon is the studios media agency. Despite late-summer rumblings that Disney was looking to place its account in review, plans are for the $399 million account to stay with Publicis Groupes Starcom.

As each release for Disney becomes more and more like the launch of a package good from Procter & Gamble, Ms. Carney would also like to see an agency-like use of longer lead times, strategizing a films campaign eight to nine months out. A lot of what Ive been doing is about breaking down silos, she said. In the marketing department, its a micro level of what Rich has been doing across the whole company. I dont know the agency practice vs. the Hollywood way, but this is how Ive always worked, she said. The priority is to make sure teams have the tools and the time they need to get the thinking right. We dont want to get into rapid course adjustment three-fourths of the way through the film. This fall sees the release of three more major releases for the studio, Secretariat, a Seabiscuitesque horse drama starring Diane Lane; Tangled, a CGI-animated take on the Rapunzel story featuring the voices of Zachary Levi and Mandy Moore; and Tron Legacy, the long-awaited sequel to the 80s cult movie. (Mr. Ross did not greenlight any of these films, so the beginnings of his soupto-nuts imprint are still months away.) Next spring tentatively brings an adaptation of the Kathryn Stockett novel The Help starring Emma Stone and Bryce Dallas Howard, while the summer brings a sequel to Pixars Cars in addition to the next Pirates film. As she enters her fourth month at Disney, Ms. Carney takes the criticism around her new role in stride-but shes also prepared to take the fall for any of her future moves, including the hire of Ms. Van Galder. I feel its important to have accountability as well as authority, she said. I believe if the things dont work Im the first person to put my hands up for good and for bad. In Hollywood, that tends to work the other way around, as shes quickly finding out. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010

Product offerings are pretty slim for obese consumers; As Americans grow larger, most marketers outside clothing are content to ignore the demographic BYLINE: MATT CARMICHAEL; MCARMICHAEL@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1333 words

Wendy Wimmer describes a recent trip to the plus-size section of Target as entering the fat-girl ghetto. She passed racks of cute as a button Liz Lange maternity wear with envy. Finally she found a lackluster selection of clothes that fit her frame, tucked in the far corner of the store near the big-box Siberia known as layaway. Someone is pregnant for nine months, but people are generally fat for their entire lives, said Ms. Wimmer, who has contributed to the Big Fat Deal blog since 2005 under the screen name Weetabix. Its the one growing demographic marketers seem intent on largely ignoring: the overweight. In 1996 there wasnt a single state in the U.S. where the adult obesity rate was greater than 20%. A mere 14 years later, 49 states have crossed that line, leaving Colorado as the most-svelte state in the union. Some blame this solely on a 1998 redefinition of overweight by the Centers for Disease Control and Prevention, but the figures were already increasing. Consider: 33.9% of adults are obese and 68.3% are overweight. Obesity, defined by the CDC as a body-mass index greater than 30, hits women (35.5%) and blacks (44.1%) harder. No demographic is spared, and the numbers are trending worse and worse. The stats for children are especially appalling. Some 10.4% of kids ages 2 to 5 are obese. Nearly one in five of those aged 12 to 19 are, and the figures have doubled and tripled, respectively, in the last 30 years. Despite a heavier America, the selection of products for them remains thin. I can go out and see women my size and know exactly where they bought everything theyre wearing, said Lesley Kinzel, 33, who has run a blog at Fatshionista.com since 2007 and was part of the Fatshionista LiveJournal community-a hub of the fatosphere, with 8,000 active members. Yet as Americans are getting heavier and heavier, few marketers seem to be taking notice. While its not a problem that impacts all sectors-overweight consumers dont need a different kind of battery or toothpaste-more spacious restaurant booths, wider desk chairs and more leg-and shoulder-room on airplanes could present an opportunity for marketers to adapt to a changing consumer. Taking larger consumers into account when planning a retail environment would have ancillary benefits as well. Until we as a nation go on a diet, being conscious of our size is simply good business, said Paco Underhill, president-CEO of retail consultancy Envirosell. But there are reasons they dont. It seems like this would be more of a product development than a marketing issue, said Ryndee Carney, manager of dealer and marketing communications at General

Motors. And it could for some backfire-McDonalds would certainly never be able to produce an ad saying, we made our booths wider so you can fit in them after eating too many of our products. Even so, subtle changes would still be noticed by the consumer even if theyre not advertised overtly. Jet Blue currently has a video testimonial on its site featuring a customer named Kervin who espouses the comfort of the middle seat he barely fits in. Jet Blue said in a statement that we included Kervin because he was, first and foremost, a real customer who could talk about the experience on JetBluejust as we did with all the people in experience videos-and his size did not have anything to do with it either way. Its subtle, but the online-only spot produced by Firstborn Multimedia is a stark contrast to rival Southwest and its policy of charging fliers for two seats if they cant fit within the arm rests. That danger of that policy was demonstrated well when the airline got in a very public Twitter dispute with director Kevin Smith, who reportedly got booted from a flight even though he claimed the armrests went down fine. Milan might have banned the starving-urchin look, but you still dont see obese people in TV shows unless theyre about fat people, like Biggest Loser or Huge, nor do you see many in commercials. It seems like a valid theory: Appeal to plus-size consumers with plus-size models in order to get them to feel better about themselves and associate that positive feeling with your brand. So if overweight Americans are now the overwhelming majority, why arent more brands and the media responding? The tricky thing is: How do we push that line and remain aspirational and respectful of the beauty industry and what that represents? said Lauren Crampsie, chief marketing officer of Ogilvy and Mather North America, whose work on Doves Real Beauty campaign famously showcased fullfigured models. Its a scary time. People dont want to piss off the industry, and the industry is based on size-two models. Also, it might not work. Naomi Mandel, an associate processor at Arizona State Universitys W.P. Carey School of Business, conducted a study for a paper published in the Journal of Consumer Marketing earlier this year. Her research looked at the impact of models of varying weights on the self-esteem of overweight women. There isnt any size model that improves the self-esteem for overweight consumers, she said. They reacted most positively to ads with no models in them. Additionally, in a previous study, Ms. Mandel found that exposure to ads with slightly plus-size models tend to lower the self-esteem of normal-weight women, who see the similarities to what they view as flaws with their own bodies. It also isnt an issue that affects all brands to the same extent. As Peggy Howell, a spokeswoman for the National Association to Advance Fat Acceptance, put it, Fat people dont need a whole lot more than skinny people. The major needs are clothing that fits, furniture that is comfortable and can support weight, and products and services related to travel such as wide airplane seats and seat-belt extenders for both planes and cars. Those are products that drive a large portion of consumer spending. Americans spent more than $260 billion on clothing and furniture in 2008, according to the latest Bureau of Labor Statistics figures.

Many marketers dont see overweight people as an audience to reach, even if their products could easily be targeted to the demographic. Ryndee Carney, manager of dealer and marketing communications at General Motors, said, There is no strategy about how we market to obese people. I can assure you no one is taking obesity into account when we create marketing plans. For those who are actively targeting this demographic, the consumer isnt always easy to reach. Traditional means of advertising, like print magazines, might not be the best venue. Im not sure my girl is there, said Chris Daniel, president of teen retailer Hot Topics plus-size offshoot Torrid. Mr. Daniel works with Coburn Communications for Torrids public-relations work and handles the rest of its advertising in-house. He has been diverting advertising dollars to affiliate and search-engine marketing, events, regional advertising and public-relations efforts. The number of impressions you have to make in order to reach someone-its kind of daunting, he said of the vast array of media messages that bombard his tween and millennial target. The rewards can be great. Lane Bryant is the leading plus-size retailer for women with nearly 800 stores. Its parent company, Charming Shoppes, had more than $2 billion in sales last year for its three plus-size brands. Torrids revenue for 2009 was just over $150 million, with almost 20% of that coming from online sales. As far as men go, its possible that they are shopping plus-size and just dont know it. Esquire recently posted a story on its site that a 36-inch pair of pants at a number of major retailers actually ranged in size from 37 inches at H&M to an extra-generous 41 inches at Old Navy. While a spokesperson for Old Navys parent, Gap Inc., denied that was true, the prevalence of vanity sizing, as this practice is called, matches pretty well with this authors shopping experience in recent years. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010

PEOPLE ON THE MOVE SECTION: Pg. 26 Vol. 81 LENGTH: 970 words

CiCis Pizza has named Nancy Hampton chief marketing officer. Ms. Hampton is a restaurant brand strategy, innovation and marketing veteran with more than 20 years of experience growing brands such as Chilis and Corner Bakery Cafe. As VP-brand strategy for Romanos Macaroni Grill, she spearheaded the brands repositioning, increased guest traffic and profitability and drove menu innovation. Her efforts at Corner Bakery helped generate double-digit sales growth. Source Interlink Media has elevated Chris Argentieri from chief operating officer to president. In his new role, he will be responsible for enhancing the relationship between SIMs audience and its brands, which include Motor Trend, Automotive.com, Automobile Magazine, Hot Rod and IntelliChoice, and will continue to oversee day-to-day business operations. Prior to joining Source in 2005, Mr. Argentieri began his publishing career at Hearst Magazines, where he held various operational roles. Valerie Green has been named senior VP-marketing for Cablevisions local-media group, which consists of News 12 Networks local channels, MSG Varsitys TV and online services covering highschool activities, and Newsday Media Group, which includes Newsday and free daily amNewYork. Previously, Ms. Green was senior VP-marketing for Fuse, a music-television network that is part of the Madison Square Garden properties. Before joining Fuse, she spent 11 years at Cablevision, where she held a number of marketing positions throughout the company, including her last position as VP-multicultural and urban marketing. Ms. Green has also served as general manager of Spin magazine and head of marketing and publicity for Rolling Stone magazine. Ellen Asmodeo-Giglio has joined AFAR Media as exec VP and publisher. Ms. Asmodeo-Giglio brings more than 20 years of publishing, marketing and sales experience to her new role at the experiential-travel brand. She most recently was VP-general manager of the Weekend Edition and Luxury Group at The Wall Street Journal. Prior to that, she was a luxury marketing consultant and senior VP and publisher of Travel & Leisure. Optimedia U.S. has hired Kristin Goodloe as senior VP-communications planning director for Richemont and LOreal luxury-products division. Ms. Goodloe joins Optimedia from WPP Groups MediaCom, New York, where she was senior partner-group strategy director. While there, she managed integrated strategic media-planning relationships for H&M and Audi, integrated strategy with global teams on LVMH and H&M, and drove branded entertainment strategies on key brands. Prior to MediaCom, she led all media efforts for 10 beauty brands in LOreal portfolio at Universal McCann, New York, which she transferred to from ZenithOptimedia at the clients request. She is the recipient of MediaWeeks 2010 Media Plan of the Year Award, the MediaCom Eagle award and McCanns Truth-Well-Told Award.

Discovery Communications has appointed Meg Lowe senior VP-domestic distribution. Ms. Lowe spent the past 15 years at MTV Networks, most recently as senior VP-content distribution and marketing. Previously, she was responsible for negotiating distribution deals as VP-market development for MTV and BET Networks. Additionally, Discovery promoted Jocelyn Egan from VP-Discovery Solutions to senior VPDiscovery Solutions, and Maria Kennedy from VP-direct response to senior VP-advertising sales, direct response for Discovery Communications. Ms. Egan has been responsible for Procter & Gamble, Allstate and Macys partnerships that leveraged Discoverys networks, digital properties, talent and Discovery Studios. Before joining Discovery in 2004, she was director-strategy at OMD, New York, where she led media strategies for clients including Gillette, Frito-Lay and Pizza Hut. Ms. Kennedy has led numerous innovations in direct-response partnerships for clients including Procter & Gamble and Advance Results Marketing. She began her career in advertising sales at Katz Independent Television and MTV Networks and joined Discovery as a sales assistant in 1990. Chris Ficarra has been promoted to the newly created position of senior VP-integrated marketing for MTV Music Groups digital properties: MTV.com, VH1.com and CMT.com. Mr. Ficarra came to VH1 in 2003 as director-integrated marketing and developed multiplatform marketing concepts for the stations advertising partners. He most recently served as VP for VH1s integrated-marketing team. Before joining MTV Music Group, Mr. Ficarra was at Vivendi Universal Net/Universal Music Group, where he was general manager of RollingStone.com as well as VP-sales marketing and operations at GetMusic.com and director-sales marketing and operations at Farmclub.com. Bob Eagen has joined McCann Erickson, Los Angeles, as senior VP-group account director to lead the agencys LifeLock business. Mr. Eagen comes to McCann from Anderson DDB in San Francisco, where he served as account director on Johnson & Johnson. While there, he led the development of all consumer-marketing communications for Johnson & Johnsons OneTouch brand, which produces glucose monitors for diabetes. From 2003 to 2007, Mr. Eagen served as a management supervisor at Grey in San Francisco, working on the Blue Cross, McAfee and Roman Meal brands. His past experience also includes working on accounts at Doremus and Goldberg Moser ONeill/Hill Holliday. McCann Erickson, LA, clients include IHOP, LifeLock and Nestl, among others. Havas Medias MPG has tapped Peter Sedlarcik as senior VP-director of insights and analytics, based out of the agencys New York headquarters. Mr. Sedlarcik was most recently senior VPdirector of insights and analytics at Targetcast. He first joined MPG in 2002 as senior VP-research consultancy and has also held key research positions with Carat and Millward Brown. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Pizza Hut makes its staff the stars in brand-focused campaign; Employees talk about favorite products, selves in Your Favorites. Your Pizza Hut push BYLINE: RUPAL PAREKH; RPAREKH@ADAGE.COM SECTION: Pg. 4 Vol. 81 LENGTH: 745 words

Twenty-year old Michelle Leachman serves customers at a Pizza Hut in Idaho but dreams of competing in a demolition derby one day. Briana Rico, a 17-year- old aspiring actress who works at a Pizza Hut in California, says the best item on the menu is the Stuffed Pizza Rolls, while Pennsylvania native Ethan Washic is partial to the barbecue-chicken pizza. In the coming months, consumers will get to know the likes and dislikes of these and a few other employees of Pizza Hut. Thats because theyre the stars of a new ad campaign that broke during Foxs NFL broadcast Sunday. The effort signals a directional change for the Yum Brands-owned chain that earlier this year touted $10 pizzas and 50 wings in the middle of a pricing war with rivals Dominos and Papa Johns. The new tack marks the first time in over a decade Pizza Hut will run national advertising thats purely about branding; the spots feature no new-product offerings and make no mentions of deals. As part of the creative by Interpublic Group of Cos. Martin Agency, Pizza Hut is dumping its earlier tagline Americas Favorite Pizza, replacing it with Your Favorites. Your Pizza Hut-underscoring the restaurants increased focus on wings, Tuscani pastas and other items not in the shape of a pie. There are signs that Pizza Hut is beginning to gain some ground on category leader Dominos, which has 18.4% of the market compared to Pizza Huts 15%. Dominos marketing strategy from Crispin Porter & Bogusky, which is something akin to our pizza was gross, but we fixed the recipe, seems to be working. Dominos posted historic same-store sales increases earlier this year of 14.4% vs. Pizza Huts 6%. But in the second quarter, Pizza Hut led same-store sales for Yum with an 8% lift, offsetting the 1% increase at Taco Bell and 7% decrease at KFC.

Said Brian Niccol, Pizza Huts chief marketing officer: We just need to incite the consumer to pull up the emotional side of the brand and the high-quality products we provide. Our pizzas, our pasta, the wings, the way they taste, the crust. We need to leverage that as opposed to, say, weve done anything wrong. Our brand stands for quality already we have no need to denigrate the brand in order to get people to engage with it. That Pizza Hut is turning employees into spokespeople makes it one of several brands in the past year that have tried to personalize their companies by using homegrown marketing talent, perhaps not coincidentally, while struggling with the recession. Nationwide Insurance switched from using D-list celebrities such as Kevin Federline, Fabio and Sanjaya Malakar to using employees; Best Buy ran a series of ads called True Stories in which associates relayed stories about helping customers; and more recently, BP began using employees in a bid to convey honesty and transparency about its Oil Spill. Whats different for Pizza Hut is the way it went about it: a Star Search-like contest. A little over two months ago, a notification was sent out to all 7,500 U.S. restaurants announcing the The Pizza Hut Casting Call. Employees were asked to submit short videos that highlighted their unique personalities to take part in a new ad push as extras. Out of hundreds of submissions, four girls and four guys were selected, half of them age 20 or under. They were flown to Los Angeles for a one-week shoot, some accompanied by their parents because theyre so young. Only once there was it revealed that they were selected, half of them ages 20 or under. They were flown to Los Angeles for a one-week shoot, some accompanied by their parents because theyre so young. Only once there were was it revealed that they would be featured as the new stars of Pizza Huts ad campaign, with Martin Agencys Andy Azula-a.k.a. the UPS Whiteboard Guy-giving them a pep talk about what its like to have a role in an ad campaign for the first time. While its not a goal of the campaign, the youthful skew could help connect with what Kurt Kane, VPbrand advertising at Pizza Hut, earlier this year told Ad Age is one of two of Pizza Huts core consumer groups, families and young adults. The commercials will be sprinkled in high-profile programming through the balance of the year with national network and cable media buys. TV presence will be supported by a social-media blitz during which a different employee will be featured each week, through YouTube videos, and dialogue on Pizza Huts Facebook and Twitter pages. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Marketers walk a fine line as they get closer to solving one of advertisings great mysteries BYLINE: RANCE CRAIN; rcrain@crain.com SECTION: Pg. 24 Vol. 81 LENGTH: 688 words

John Wanamaker, the Philadelphia merchant, famously said, I know half my advertising is wasted, I just dont know what half. Congratulations to John, by the way, for getting involved in his stores advertising programs; most CEOs dont bother. And now with budgets increasingly going to digital, they really wont bother because theyll be too embarrassed to admit they dont understand how digital can build brands-or if its even important anymore. Whats important is to be at the right place at the right time with the right merchant. Old John Wanamaker, if not todays CEOs, would be thrilled that were fast closing the wasted advertising gap by allowing consumers to pre-select for themselves just what theyre looking for. Theres just one little problem: knowing too much about consumer-buying proclivities could be considered an invasion of privacy, even though marketers can give consumers just what they want. Direct-marketing legend Lester Wunderman understands better than most how far weve come-and how tantalizingly close we are to eliminating wasted spending. To know when consumers are ready to part with their money is the big unknown, Lester told me. To hit the target at the right moment and the when-the right moment is the when, and its the one thing we dont know. The when is the big mystery. Frequency doesnt solve the when. Frequency is I dont know when so Im just going to keep after you until the when is ready. After coming so far, we might never figure out the when. As Bob Garfield asked: How hysterical would it be for online advertising to be legislated into oblivion? Its hardly an insane scenario, as pressure builds on the FTC and Congress to safeguard consumer privacy from behavioral targeting and other online wizardry.

The crackdown on behavioral targeting comes at an especially inopportune time, given the fact that we need consumers to feel free and comfortable spending their money again. They feel free posting all kinds of personal stuff on Facebook, so why is it considered creepy for marketers to know what products they like to buy? Heres how FTC Chairman Jon Leibowitz described the dilemma: Imagine that you were walking through a shopping mall, and there was someone who was walking behind you and taking notes on everywhere you went and sending it off to every shop or anyone who was interested for a small fee. That would creep you out; that would be very disturbing, I think, for most people, he told Bob. Not for me, or I would wager, the millions of people who share their every waking hour with likeminded people on the various social media. Heck, Id like to have a personal shopper following me around to make sure I didnt forget anything. Lester Wunderman made an important distinction between what kind of information is acceptable to use for marketing purposes and what kind isnt. Is it personal, or is it private? If I address you by name, and I know that you own a house and own a car, and the make and model and year of that automobile, thats not private. It may be personal, but its nothing youre hiding. But if I begin to get into your debt, get into your family income, get into your mortgage problems if you have any, I think we are on the verge of invading privacy. So its personal but not private for marketers to know that you like Chanel purses or Jimmy Choo shoes and send you emails about new models and sales and even other shoes and purses from other fashion houses. Sure, you could opt out for such updates from the companies involved. Or they could explain how they knew from your previous buying patterns that you would most likely be interested in similar products, but please dont feel pressure to act on any of the information that suddenly pops up and please forgive us for intruding. Lester Wunderman, in his interview with me, did say that competition is getting fierce to figure out how to get to the when moment that would render John Wanamakers advertising totally unwasted. But if marketers move from using personal to private data, in their quest for advertisings holy grail, it would block progress for years to come. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; RANGE ONLINE MEDIA SECTION: Pg. 20 Vol. 81 LENGTH: 89 words

LOCATION: Headquartered in Fort Worth, Texas; branch offices in New York and Salt Lake City EMPLOYEES: 97 GIVING BACK: For the past two years, Range team members have planned a holiday carnival at an elementary school in an economically challenged area of town. Range has donated funds for the Haiti rebuilding initiative through the American Red Cross and raised awareness among industry colleagues at conferences. It also supports the Warm Place, a local organization that provides support to children and families who have lost a parent. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; RED DOOR INTERACTIVE SECTION: Pg. 21 Vol. 81 LENGTH: 72 words

LOCATION: Headquarters in downtown San Diego; smaller offices in Carlsbad, Calif., and Denver EMPLOYEES: 50 GIVING BACK: Red Door does pro-bono work for nonprofit organization New Leaders for New Schools. The company has a philanthropy committee that organizes events for staff such as fundraising for the MS Walk or volunteering at beach cleanups. The company has gone paperless in its accounting office and with all internal documents. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Best Places To Work; SICOLAMARTIN SECTION: Pg. 21 Vol. 81 LENGTH: 82 words

LOCATION: Austin, Texas EMPLOYEES: 50 GIVING BACK: This year, SicolaMartin instated 10 in 10, a program that gives employees 10 paid hours in 2010 to devote to volunteer work, whether as part of a group or individually. Every two years, employees also have the chance to pitch their favorite charitable organizations to coworkers, who select the pro-bono accounts SicolaMartin will serve, including, most recently, The Austin Childrens Shelter and The Breast Cancer Resource Centers of Texas. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Big marketers to Super Bowl: We cant quit you; Choosing to watch from sidelines the past few years, top advertisers decide they want back in the game BYLINE: BRIAN STEINBERG; BSTEINBERG@ADAGE.COM SECTION: Pg. 6 Vol. 81 LENGTH: 570 words

Blue-chip advertisers that managed to kick the Super Bowl ad habit in recent years are suddenly flocking back to it with a vengeance, as if it were some wonder drug from which one cannot easily be weaned.

For the past two recession-plagued years, the Super Bowl ad roster has relied more strongly than is the norm on the second-string: first-time entrants just feeling their way into the gridiron classic and an odd assortment of competitors-think advocacy-group Focus on the Family or precious-metals collector Cash4Gold.com-that one would suspect might want to use narrower media for a more targeted message. But next years game, slated to be broadcast on News Corp.s Fox in February and held in Arlington, Texas, is seeing a rush of interest from some of the nations largest marketers. Already, General Motors and Pepsi have signaled their intent to take part. GM, a veteran Super Bowl advertiser, has been absent from the games ranks since 2009, as its economic woes made an appearance in this most-watched-and most costly-of TV events seem, well, unseemly. And Pepsi benched its beverages in last years contest, citing a desire to promote a Pepsi Refresh project that thrived with social media and viral promotion. The public sentiment about sports and entertainment sponsorship has turned back into a positive light, said David Schwab, a VP at Octagon, an Interpublic Group sports-and entertainment-marketing company. The reach you get with the Super Bowl and the additional publicity and social-media play is unparalleled to anything in the market. Advertiser demand for the event has been robust. A Fox Sports spokesman said the game is more than 90% sold out, noting there are only a handful of units remaining. Fox had sold 80% of the game during its upfront sales this year, seeking between $2.8 million and $3 million for a 30-second spot, according to media buyers. The pace is faster than anything witnessed in recent times. As Fox prepared to sell ads for the 2008 broadcast of the Super Bowl-the last time the network handled these duties-it hadnt sold 90% until late October of 2007. Indeed, it took CBS until September of 2009 to sell 70% of the game for 2010, when the economy weighed more heavily on advertisers purse strings. Whats driving the push? More advertisers see live sports as a venue in which consumers watch the ads right away and dont zap past them with a DVR or ignore them with a click of the computer mouse. And the Super Bowl brings with it a reach that is impossible to duplicate with any other single TV broadcast. At a time when most video content seems to reach fewer people than ever before, the Super Bowl is reaching more. CBSs telecast of the event this year set a record for broadcast TV, reaching an average of 106.5 million people, topping the longstanding record set by CBSs telecast of the series finale of MASH in

1983.
Theres also a sense that its OK to spend again and go for the biggest audiences possible-at least when the circumstances are correct. Pepsi, for instance, plans to drive awareness for Pepsi Max, its male-oriented diet beverage. We are restaging the Pepsi Max brand and putting a tremendous amount of resources behind it, and we couldnt think of a better place to get that message out, said Jill Beraud, chief marketing officer, PepsiCo Beverages Americas, in an interview last week with Advertising Age. CONTRIBUTING: NATALIE ZMUDA LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Holiday season looks to be full of gifts for tech marketers; With content-partner deals, freebies and store demos marketed as events, consumer electronics projected to score at full price BYLINE: BETH SNYDER BULIK; BBULIK@ADAGE.COM SECTION: Pg. 10 Vol. 81 LENGTH: 953 words

Its going to be a green Christmas, at least in consumer-electronics sales. Bolstered by a flood of new products such as motion-controlled game consoles, 3DTV, e-readers and tablet computers, sales are projected to keep the industry growing at a strong clip. The Consumer Electronic Association

predicts $175 billion in shipments for 2010 in the U.S., a 3% increase over 2009 and a $9 billion jump in the groups earlier January prediction. Whats more, not a lot of it will be purchased off the sale rack. So how will individual brands stand out and grab that green without dangling discounts during a time when price considerations still weigh heavily for most consumers? Instead of just the same-old electronics gambit of Black Friday price wars and bigger and better hype, expect to see exclusive content-partner deals, extras and freebies thrown in, extensive in-store demos and cross-category promoting. Its all part of an industry mind-shift to market the experience instead of the power a device can provide. What I used to teach my students at Syracuse in the 90s as the unique selling proposition, is maybe becoming the unique experience proposition. Its creating that excited, uncanny feeling that you have to have something, said Forrester Research analyst James McQuivey. Youve got to obsess about the customer experience. Content deals, for example, are becoming much more important. And while partnerships for content such as Netflix and Pandora are now standard add-ons to many electronic devices, its exclusivity thats becoming more popular. Panasonic, Sony and Samsung have all locked up exclusive 3-D Blu-ray content specific to their TVs this season. But the December launch of Avatar in 3-D will only be available for Panasonic 3-D TV owners for a set amount of time, while Disney 3-D titles Alice in Wonderland and Bolt will only be available for select Sony Bravia 3-D TVs for a limited period. Samsung struck a deal with Dreamworks Animation and currently has Monsters vs. Aliens exclusively for Samsung 3-D TVs, with How to Train Your Dragon and the Shrek series of movies coming soon. Samsung has also secured exclusive rights to several IMAX 3-D movies including Into the Deep and Galapagos. At Microsoft, exclusive partnerships with media partners are a key marketing theme. Previous examples include Bing and The Rachel Zoe Project and Windows 7 with Family Guy. Gayle Troberman, chief creative officer of Central Marketing Group, promised more this holiday, although she was mum on details. This holiday we believe consumers are ready to indulge a little, she said. Were feeling a new optimism from consumers, and youll see that reflected in our advertising. Microsofts new advertising, from agencies including JWT, Crispin, Porter & Bogusky, and AgencyTwoFifteen, breaks later this month with a focus on Kinect for Xbox 360 and Windows Phone 7 both launching this holiday, along with Windows PC and Bing, Ms. Troberman said. Demos, whether in-store displays or hands-on tours, also will be popular this season. The new motion-controlled game consoles, Kinect and also Sony PlayStation Move, along with tablets, ereaders, 3-D TV, and a batch of new mobile phones will all be showing up in stores and malls, encouraging people to look, see, and play for themselves. Sales are becoming more and more event-driven, said Shawn DuBravac, chief economist and director of research at the Consumer Electronics Association. But creating an event can be done in

many ways. Demos are going to be key this holiday season. They close the loop, especially with new products, he said. Such products include the Amazon Kindle, which will go to retail for the first time this fall at Best Buy, and Apples iPad, which also will be available at all Best Buy stores. IPad is also rumored to be headed to broadscale retailers such as Target and Walmart. The important thing this year is just getting in front of customers, said Mr. McQuivey. Walmart sells a lot of books and at attractive prices. People who go there for books and see any e-reader on an end cap at the book aisle will be inclined to say Thats the one for me. Thats the reason Barnes & Noble has sold any e-readers. Another electronics-marketing angle cropping up this selling season is cross-category competition. Amazon Kindle fired the first shot with a TV spot last week that took a swipe at iPad, noting that the experience of reading in sunlight with a Kindle is superior to the iPad. Kindle isnt competing with other e-readers; its competing with other products that can do the same thing. You have to target consumers looking to get the experience your product offers vs. another product, no matter what category its in, said NPD analyst Stephen Baker. Theyve got to be much more competitive than just reducing prices by 40% to gain traction. Mr. McQuivey said, They may not be direct competitors, but theyre all competing for your attention, your time and your money. Look at mobile phones, TVs, computers, tablets and all those; there are essentially five or six categories of products all competing for attention and wallet share. Kindle is very much selling to people a feeling of what its like to be our customer. Ultimately thats the best advantage any device maker has. Of course, with budgeting still in mind, there will be price breaks and drops, particularly around Black Friday, but insiders think those will be meted out as tactical moves, with likely no manufacturer price decreases on the new devices-or Apple products-this year. Packaging in freebies and extras, like accessories, additional games or movies, and gift cards, may serve as alternatives to price drops. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Starbucks adds a few doses of flavor to perk up its packaged-coffee sales; Armed with a buzzy campaign, franchise giant taps retail market with Natural Fusions, a line of caramel, vanilla and cinnamon bagged beans BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 744 words

Coffee purists might turn up their noses at flavored coffee beans, but Starbucks packaged-coffee division expects the category will be its next avenue of growth. The coffee giant, looking to grab back flavored-coffee fans forced to seek out other brands, is rolling out caramel, vanilla and cinnamon coffee beans to retailers and supporting it with one of the most extensive campaigns its ever done for its packaged-coffee division. Its an interesting move for the company, which has shunned flavored coffee beans in its own retail stores. The line, dubbed Natural Fusions, may be somewhat of a departure, but so was Via. Flavored coffee isnt the first thing you think of when you think of Starbucks, but theyve shown theyre willing to explore other platforms, said R.J. Hottovy, an analyst with Morningstar. Weve seen Via exceed expectations in the last year. So, its a measured gamble for the company at this point. Michele Waits, director-packaged coffee at Starbucks, said that after three years in development, Natural Fusions, created in partnership with Kraft, does live up to Starbucks standards. It is more coffee forward she said, when compared to other flavored coffees on the market. The $377 million category is dominated by players including Dunkin Donuts, Millstone and Godiva. The impetus for the launch was two-fold. The company discovered that 60% of its bagged coffee customers were buying flavored coffee, albeit from competitors, because Starbucks didnt have an offering. And it was looking for ways to grow, beyond just line extensions and additional distribution. Starbucks really invented the premium-coffee category within grocery. Over the past couple of years, weve been building more and more distribution. Weve got close to 90% reach now, Ms. Waits explained. We were forced to regroup in 08 and 09 and figure out how we were going to grow beyond just extensions and new distribution. Its analogous to the door growth at our retail stores.

Ms. Waits said the primary target for the new products will be those Starbucks customers who are going elsewhere for flavored coffees. The secondary target will be flavored-coffee users who are not purchasing Starbucks. Originally, we thought the more fertile ground would be the Starbucks user who hasnt bought flavored before. But those people are hard to convert, she said. Ms. Waits says that during consumer testing, 75% of consumers said they intended to buy the product, which is above the norm for new-product testing. In terms of demographics, the group interested in the products tends to skew female, with the sweet spot being women aged 45-plus. That was pretty much what Starbucks expected. What was unexpected was that the products were still viewed as a morning coffee, rather than an afternoon treat. Its a variety play for [consumers], Ms. Waits said. Its still primarily a morning coffee. Its just going to be an addition to the repertoire. The products wont be available in Starbucks own retail stores just yet, but executives dont rule that out as a possibility. The packaged-goods division will be targeting loyalists and consumers who visit Starbucks stores, however, through the Starbucks Rewards program. Mr. Hottovy says he believes Starbucks could move Natural Fusions into its own stores, depending on how it performs at grocery in the coming months. It could develop into a nice revenue stream for the company, he said. Theyve learned their lessons over the last decade about not getting too far out of the coffee-purist space. We wont see another venture in entertainment. But [we will see] reasonable extensions of current products, he added. No TV is planned as of yet. In addition to direct marketing, the campaign, which is rolling out now, will include print, digital, newspaper inserts, in-store marketing and sampling. Ms. Waits declined to comment on spending behind the effort. Starbucks spent $33 million on measured media last year, according to Ad Ages Leading National Advertisers report. Creative depicts a romance between the flavor-a vanilla bean, cinnamon stick and cubes of caramel-and the coffee bean. BBDO, New York is Starbucks creative agency. $377M flavored-coffee category is dominated by players including Dunkin Donuts, Millstone and Godiva. 60% of its bagged-coffee customers were buying flavored coffee. 75% of consumers said they intended to buy the product, which is above the norm for new product testing. LOAD-DATE: September 20, 2010 LANGUAGE: ENGLISH

PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 20, 2010 Starbucks adds a few doses of flavor to perk up its packaged-coffee sales; Armed with a buzzy campaign, franchise giant taps retail market with Natural Fusions, a line of caramel, vanilla and cinnamon bagged beans BYLINE: NATALIE ZMUDA; NZMUDA@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 744 words

Coffee purists might turn up their noses at flavored coffee beans, but Starbucks packaged-coffee division expects the category will be its next avenue of growth. The coffee giant, looking to grab back flavored-coffee fans forced to seek out other brands, is rolling out caramel, vanilla and cinnamon coffee beans to retailers and supporting it with one of the most extensive campaigns its ever done for its packaged-coffee division. Its an interesting move for the company, which has shunned flavored coffee beans in its own retail stores. The line, dubbed Natural Fusions, may be somewhat of a departure, but so was Via. Flavored coffee isnt the first thing you think of when you think of Starbucks, but theyve shown theyre willing to explore other platforms, said R.J. Hottovy, an analyst with Morningstar. Weve seen Via exceed expectations in the last year. So, its a measured gamble for the company at this point. Michele Waits, director-packaged coffee at Starbucks, said that after three years in development, Natural Fusions, created in partnership with Kraft, does live up to Starbucks standards. It is more coffee forward she said, when compared to other flavored coffees on the market. The $377 million category is dominated by players including Dunkin Donuts, Millstone and Godiva.

The impetus for the launch was two-fold. The company discovered that 60% of its bagged coffee customers were buying flavored coffee, albeit from competitors, because Starbucks didnt have an offering. And it was looking for ways to grow, beyond just line extensions and additional distribution. Starbucks really invented the premium-coffee category within grocery. Over the past couple of years, weve been building more and more distribution. Weve got close to 90% reach now, Ms. Waits explained. We were forced to regroup in 08 and 09 and figure out how we were going to grow beyond just extensions and new distribution. Its analogous to the door growth at our retail stores. Ms. Waits said the primary target for the new products will be those Starbucks customers who are going elsewhere for flavored coffees. The secondary target will be flavored-coffee users who are not purchasing Starbucks. Originally, we thought the more fertile ground would be the Starbucks user who hasnt bought flavored before. But those people are hard to convert, she said. Ms. Waits says that during consumer testing, 75% of consumers said they intended to buy the product, which is above the norm for new-product testing. In terms of demographics, the group interested in the products tends to skew female, with the sweet spot being women aged 45-plus. That was pretty much what Starbucks expected. What was unexpected was that the products were still viewed as a morning coffee, rather than an afternoon treat. Its a variety play for [consumers], Ms. Waits said. Its still primarily a morning coffee. Its just going to be an addition to the repertoire. The products wont be available in Starbucks own retail stores just yet, but executives dont rule that out as a possibility. The packaged-goods division will be targeting loyalists and consumers who visit Starbucks stores, however, through the Starbucks Rewards program. Mr. Hottovy says he believes Starbucks could move Natural Fusions into its own stores, depending on how it performs at grocery in the coming months. It could develop into a nice revenue stream for the company, he said. Theyve learned their lessons over the last decade about not getting too far out of the coffee-purist space. We wont see another venture in entertainment. But [we will see] reasonable extensions of current products, he added. No TV is planned as of yet. In addition to direct marketing, the campaign, which is rolling out now, will include print, digital, newspaper inserts, in-store marketing and sampling. Ms. Waits declined to comment on spending behind the effort. Starbucks spent $33 million on measured media last year, according to Ad Ages Leading National Advertisers report. Creative depicts a romance between the flavor-a vanilla bean, cinnamon stick and cubes of caramel-and the coffee bean. BBDO, New York is Starbucks creative agency. $377M flavored-coffee category is dominated by players including Dunkin Donuts, Millstone and

Godiva. 60% of its bagged-coffee customers were buying flavored coffee. 75% of consumers said they intended to buy the product, which is above the norm for new product testing. LOAD-DATE: September 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 Walmarts merchandising shift has five brands dancing in aisles; Change in Project Impact strategy is paying off for these household favorites BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 2 Vol. 81 LENGTH: 622 words

Walmarts much-talked-about Project Impact isnt dead, but the merchandising strategy that knocked thousands of items off the retailers shelves and cleared the aisles of promotional merchandise over recent years is finished. That, combined with moves to give regional and store managers more power over what their stores carry and how merchandise gets displayed, stands to have a major impact on a host of marketers over the next year. The brands and players at right are among the immediately identifiable winners, though many of the category resets that will add back thousands of items to Walmarts shelves wont take

place until early next year. While much discussion around Bentonville and nationwide among Walmart suppliers has written off Project Impact as a goner, the reality is less dramatic, more like an amputation. The program to reinvigorate growth at Walmart always focused on 10 words. Seven remain operative. Threereferring to the Win, Play, Show merchandising and assortment strategy-have been tossed out of the lexicon, according to several people familiar with the matter. The first four of the remaining ones: Save Money. Live Better refer to the slogan adopted in 2007 from Interpublic Group of Cos. Martin Agency, Richmond, Va., along with the redesign of the chain logo. The next three words: Fast, Friendly, Clean remain in the Impact dictionary as well. Those refer to efforts to improve the store environment and shopping experience and fall into the area new Walmart U.S. CEO William Simon formerly ran and which appears to have gained considerably more power in the new order. Whats gone are Win, Play, Show, in which Walmart reduced assortments widely and often let price leadership over competitors narrow or disappear entirely in the Play and Show categories. Reversal of that, along with return of merchandise to aisles, or so-called Action Alley, is having the biggest, well, impact on brands. Among the beneficiaries so far, according to people familiar with the matter: CHEX MIX: A reset of the snack section recently has brought the item-count for this General Mills brand from an Impact-reduced three up to eight. HEFTY ONEZIP: This brand, along with Glad, got eradicated from the food-bag aisle after a Walmart category review last year. Starting in April, it got a small amount of space back, and more recently its fully regained its shelf space. PAMPERS: P&G Chairman-CEO Bob McDonald on an earnings conference call last month lavishly praised the shift to Mr. Simon at Walmart, and later noted that Pampers would be among the brands likely to benefit from some of the changes in the retail environment weve talked about. Since Pampers isnt distributed at Costco or big dollar chains Dollar General and Family Dollar, Walmart takes on added importance for the brand. Its one reason P&G is widely believed to over-index at Walmart, and why it should broadly benefit from increased display space at the giant retailer. WISK: This detergent brand had been booted from retailers in the recent years and hanging on to distribution in only around 10% of Walmart stores. Timing proved fortuitous, as Wisk was planning a formula upgrade and major marketing push for August just as Walmart was relaxing its assortment stance. The result is full national distribution for Wisk. ELMERS GLUE: Timing is everything, and the decision to open up Action Alleys again in many stores just in time for back-to-school season put this staple of the season in high-traffic areas. As many store managers and marketers were scrambling to find merchandise to put into the expanded displays, Elmers was ready, saving what had been feared would be a down quarter because of

diminished display space. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 BUILDING A MARKETING STRATEGY FOR A SONG; CMO keeps jingle cornerstone of efforts to reach wider target with freecreditscore.com BYLINE: ANDREW HAMPP; AHAMPP@ADAGE.COM SECTION: Pg. 30 Vol. 81 LENGTH: 1308 words

At a time when consumers are arguably paying closer attention to their credit scores, Experian Consumer Direct, the consumer-product division of one of the nations largest credit bureaus, has been orchestrating a marketing strategy under the watch of Senior VP-CMO Chris Moloney that imparts accessibility and clarity to something formerly left to financial advisers to understand. And for this direct marketer, the cornerstone of the campaign is a decidedly branding-based tool: the jingle. In fall 2007, Experian and its agency The Martin Agency introduced a campaign for the Experian product freecreditreport.com, a division of the companys ConsumerInfo.com group. It featured a namesake band led by actor and singer Eric Violette, who portrayed a hapless 20-something forced to take menial jobs and living with his in-laws due to his poor credit. The spots were catchy and

ubiquitous to late-night cable viewers-in 2009 alone, freecreditreport.com spent $60.8 million on cable TV, according to Kantar Media, geared primarily toward younger males. That youth-targeted strategy ended up having an unexpected appeal among boomers and retirees, rather than young professionals with little to no credit history. Additionally, the Federal Trade Commission recently established a new mandate requiring all companies offering free credit reports tied to a commercial offer to refer to the governments FTC.gov site as the only place to find a free authorized credit report. Thats why Mr. Moloney prioritized a new product offering, freecreditscore.com, when he joined the company in February 2010 after a four-year stint as CMO of Scotttrade. Freecreditscore.com is designed to give more immediate, relevant credit information to younger consumers, who told Experian through research that they didnt need all the detailed information of a credit report, just a quick and easy score to monitor for job interviews and housing applications. The switch to freecreditscore.com also takes Experians commitment to jingles to the next level. This past weekend, freecreditscore.com was a presenting sponsor of MTVs Video Music Awards in Los Angeles, where the new freecreditscore.com band (Detroits The Victorious Secrets) debuted its first jingle during commercial breaks and also appeared during pre-show coverage. The VMAs marked the latest milestone in an entertainment event-based strategy Mr. Moloney has overseen in recent months, having also bought major time during Foxs Major League Baseball AllStar Game in July to promote the freecreditscore.com band contest ultimately won by the Victorious Secrets. Such major prime-time events arent exactly the same place youd find ads for other direct marketers like ShamWow or Snuggie, which is exactly the dichotomy Mr. Moloney is looking to straddle in his new role. Even though Im a direct marketer, Im still jazzed about branding, Mr. Moloney said. Mr. Moloney reports to Experian Consumer Direct President Mike Dean, and also oversees the marketing strategies for ProtectMyID.com and Experian.com, the companys other consumer-facing sites. Has the recession helped or hindered your business as many consumers credit scores have taken a hit by the recent bank-lending crisis? Our business has been very robust in terms of people wanting to understand their credit report and all this information being published by their financial institution. The last few years have been challenging for some people, but the message about [how] a better score can get you a better rate and help you get the things you want like a mortgage has really resonated with todays audience. Our product has been able to help people save a ton of money-they have a window into when their loan is accepted or denied and what that decision was made on. [A] do-it-yourself mentality has really exploded over the years, and I believe were a part of that revolution as far as DIY finances. This April, you phased out Experians popular freecreditreport.com ads and their house band to focus on a new product, freecreditscore.com. What prompted that change?

We had a new brand that needed a new band. Our old band resonated with all ages; everybody at some point had been hindered by not having the credit they wished they had. The kids singing the songs were having an impact on their parents. A lot of people knew of us because there were millions of teens who had become fans of the music. We performed fantastically among the boomer audience, and in fact 30-to 60-year-olds make up our largest consumer base. [But] there were a lot of customers who were not fans of the band, who found them too kitschy or too lighthearted or not appealing because they saw them on TV. Those people who were detractors had joined the conversation. We engaged people to see the new band. Will the new campaign be more inclusive of your core base of boomers? The band now is not singing about themselves, theyre singing about other scenarios. They used to sing about how they couldnt get this car, or my credit score was low, I had to sleep in my parents basement. Its not about the bands age or the bands challenges. We will have boomers in our ads, some Gen Xers and Gen Yers and maybe even some older folks. We have a desire to go broader with our message. [For the VMAs], MTV has been supportive of the fact that were trying to give new brands some awareness. We want to continue to educate people on credit scores through educational videos, and I expect the band will play a role in that social-media education. We kind of stumbled into this social-media aspect when we saw how many people liked the old band and didnt like the old band. The previous campaign caught flak-and a 2005 lawsuit by the Federal Trade Commission-for not being transparent enough about just how free the credit reports are. How did the recent FTC mandate to refer consumers to FTC.govs credit reports affect your strategy? To be compliant with the new FTC mandates, freecreditreport.com now offers consumers the choice of a free report delivered within two days without enrollment in the credit-monitoring product Triple Advantage, or instant delivery of their credit report along with enrollment in Triple Advantage. In parallel, Experian has shifted its marketing strategy to focus on freecreditscore.com, which is not subject to the same restrictions by the FTC. Were very clear in our advertising that the ongoing management of your financial situation is important. You recently shifted some of your dedicated digital marketing dollars into broadcast prime time. How will you measure effectiveness? Were a D-R company that happens to have a brand. Im a D-R marketer myself and I love the opportunity to leverage when you can really bring online, offline and social media together to build brands. Weve done some key things that clearly need a brand to justify the spend. My concern about online measurement is you become so addicted to those numbers you cant measure brand attribution or what it means to partner with [The Major League Baseball] All-Star Game. You cant measure the brand impact to be associated with MLB if you become too focused on the D-R metrics. If youre

totally all metric-driven you can overlook what made advertising great over the last 50 years. 5 TIPS 1. Make events out of your brand by teaming up with like-minded media partners. The more unexpected, the more buzz you generate. 2. Know your audience. If a product isnt hitting a desired target, shift your strategy or product focus. 3. Let consumers be your media. Branded jingles or contests can sometimes promote your product better than any TV buy. 4. Be transparent. The more upfront you are about your products fees, the more consumers will trust you. 5. Branding is from the gut. No matter how many metrics you subscribe to, dont forget the importance of instinct. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 Killing off 30-second spot is bad medicine for OTC drug industry; Data shows category most in favor of ditching 30s for 15s also saw highest incursion of private-label BYLINE: JACK NEFF; JNEFF@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 727 words

Weve all heard it: The 30-second spot is dying, with penny-pinching procurement practices driving the final nail in its coffin. But some interesting new data on the over-the-counter drug category-the biggest adopter of the 15-second spot over the longer version-might just argue for its revival. As over-the-counter marketers bumped up the share of their TV commercials from 25% 15s in 2007 to 63% last year and 65% so far this year, their market share has eroded to private label faster than those of other package-goods categories. And it may be no coincidence. Copy-testing firm Ameritest has found a marked decrease in ad effectiveness for 15s vs. 30s, particularly for OTC brands, which appear to have handled the edits more poorly than other marketers, even as they used 15s much more often. The ratio of 15s to 30s has been ris-ing fairly quickly for all marketers since 2007, concurrent not just with an increase of digital media or DVRs but, more importantly, the onset of the Great Recession, as marketers looked to squeeze more efficiency out of their media budgets. The shorter form now accounts broadly for anywhere from a quarter to 35% of conventional TV ads, up from 20% to 26% three years ago, with the higher ratio among national ads as opposed to all ads, according to adtracking firms Competitrack and Ameritest. In the OTC medication and quick-service-restaurant industries, 15s now make up the vast majority of TV ads after being as little as a quarter of ads in 2007, they found. Others, such as faster-growing technology and telecommunications marketers, largely have shunned 15s. The OTC drug industry, which appears to lead all others with 65% of its ads this year appearing as 15s, has also been a hotbed of marketing procurement, making up a substantial plurality of marketing procurement professionals listed on LinkedIn or attending marketing procurement conferences. While it may be a prescription for cost cutting, the shift to 15s is having nasty side effects. All-outlet private-label unit and sales volume for health-care products rose 1.4 and 1.9 share points in 2009 to 27.9% and 36.1% respectively, according to Symphony IRI. Thats well ahead of the 0.2-and 0.9point gains for private label in all consumer package goods. It was the second straight year health-care private-label led all categories in share erosion to private label, and the trend has accelerated in 2010, though largely because of a series of product recalls and a plant shutdown by Johnson & Johnson making branded products unavailable. Across all ad categories studied by Ameritest, the average number of people paying attention to ads fell from 44% with 30s to 38% with 15s. For 37 over-the-counter ads in the study, with 4,000 consumer panelists, the dropoff was more than twice as steep proportionately, from an already-lower 36% level for 30s to 25% for 15s. The companies that live and die by their advertising are stretching their budgets with 15s, and frankly theres a lot for them to learn, said Ameritest CEO Charles Young. Its an awfully short form for creatives to work with. If it devolves into simply reminder advertising, youre not building brands. You need to bring emotion and news value to those brands.

Not all OTC marketers are fans of 15s either. People are making decisions on going from 30s to 15s recently, I think, purely driven by cost vs. is that absolutely the right thing? said Lakish Hatalkar, head of integrated marketing communications, package design and innovation for Novartis, who noted that he was discussing the OTC and advertisers broadly, not Novartis specifically. But the 15-second ad also has some fans in research. Australian researchers Kate Newstead and Jenni Romaniuk last year found in a study of ads from Australia, the U.K. and U.S. that likeability scores for 15-second ads were about 20% lower than for 30-second ads, but branding scores were similar. Given the 20% to 40% price advantage for 15s, they argued in a paper published earlier this year in the Journal of Advertising Research that campaigns made up entirely of 15s may be more effective. But the other question is the broader impact on all TV advertising from the increased clutter. Clutter pulls down effectiveness for everyone, said media consultant Erwin Ephron, even if some individual advertisers benefit from shifting money to 15s. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 BELIEVE IT OR NOT, THIS GUYS A LOT LIKE THE EASTER BUNNY; Game Duke Nukem really did take forever, and now its developer must convince skeptical fans its actually here BYLINE: BETH SNYDER BULIK; bbulik@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 842 words

So Kevin Costner, Axl Rose and Duke Nukem walk into a bar Its no joke-at least we dont think so. In the entertainment industry, there are a few properties legendary for cost overruns and lengthy delays-among them Waterworld in 1995 and Guns N Roses Chinese Democracy, which was finally released in 2008 after a 15-year gestation period. Now add to those one of the gaming worlds most-anticipated titles, Duke Nukem Forever, which might actually be coming to market after an apocryphal 13 years in development. Duke Nukem, for those who managed to escape the firestorm of chatter on social media and blogs last week, is a crass-talking, womanizing macho action-hero stereotype and the lead character in a firstperson shooter game from Gearbox Software. On Sept. 3, within an hour of the developer announcing at gaming show PAX that the title will be launched for PS3 and Xbox 360 next year, Duke Nukem was a top-trending Twitter topic. Duke racked up tens of thousands of blog postings along with hundreds of digital and mainstream media news stories, many among them not quite believing that after more than a decade-a lifetime in the gaming world-Duke would actually blast his way onto the modern-day console. The original Duke Nukem was a shoot-em-up PC game that bowed in 1991 and went to the top of shareware lists (where players could download a free trial) and stayed there for two years. Duke Nukem II for the PC was released in 1993, followed by Duke Nukem 3D in 1996. The last game has endured and in fact, became available on Xbox 360 via its Live Arcade in 2008. This latest incarnation, Duke Nukem Forever, was first announced in 1997. At the time, Titanic was in theaters and the first Harry Potter book had just been published in the U.K. Whats been the holdup? 3D Realms, the original developers of Duke Nukem, certainly intended to release the title. More than a half-a-dozen dates were announced-and blown-over a decade, and sneak peeks were shown at the E3 gaming show a number of times. However, both the perfectionism of the game creators, who changed game engines at least twice at the cost of significant cash and development time, and their inability to lock down the game-that is, stop adding to it and start polishing it for release-ultimately sealed the games fate as perennial vaporware, according to a Wired article last year. In the interim, Duke has survived through online fan tributes and forum chats, as well as hundred of online videos. How big was Duke Nukem? In the fall of 1996, at the end of my final interview on one of the three major PC game magazines, my final test was a network death match with the editor in chief, said George Chronis, now an analyst with DFC Intelligence. He got the job. With so much buzz behind the game then and now, do Gearbox and publisher 2K need any marketing at all?

If Gearbox assumes that Twitter trending alone assures them of sell-through among core male PC gamers, sufficient for a financially successful game, theyre in for a big surprise, said Brenton Lyle, analyst at Interpret, in an e-mail interview. It is beginning to become clear that internet buzz is incredibly fickle and dangerously misleading-Snakes on a Plane, Crysis, Scott Pilgrim, etc. [The] core internet gaming communities are actually part of a comparatively singular echo chamber . The massive buzz and near-total awareness is, in fact, just an illusion. Mr. Chronis, in fact, said the proof is in the playing. There is a franchise factor that will give the title a lead-in for good sales, but the primary consideration is whether there is a good game to play. The key variables to success for Duke Nukem Forever wont be violence or womanizing, it has to be whether each game level is fresh, funny and outrageous. And while the waiting has created a lot of pent-up demand, it also created frustration and even abandonment by fans. Randy Pitchford, CEO of Gearbox and a developer on the original Duke game, said in an interview that was the reason he chose PAX, a conference of video-game players, vs. the more well-known E3 conference for industry insiders in June, to announce Dukes return. This is not a game one can make promises about, he said, thanks to the many years of unfulfilled promises. We knew we would get attention no matter when we announced, but attention alone is not helpful for this title. We had to convert it from being a joke to a triumphant moment we all want to get behind. Unlike typical video-game rollouts which start with an announcement of the title followed by demos months later, DNF had to be announced with demos and real game play at the same time, he said. The first stage of marketing will be to instill confidence. For the second, Mr. Pitchford wouldnt be specific about plans but said that Gearbox, working with publisher 2K Games, intends to get demos into players hands, before launching what he called a traditional large scale media campaign. The message: Duke Nukem Forever is real this time. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 In Non-Loving Memory: RIP, Press Releases (1906-2010)-long live the Tweet BYLINE: SIMON DUMENCO; sdumenco@adage.com SECTION: Pg. 28 Vol. 81 LENGTH: 538 words

I specifically ordered Persian rugs with cherub imagery!!! What do I have to do to get a simple Persian rug with cherub imagery uuuuugh. That pithy cry for help came to my attention thanks to Time.com, which just presented it in a listicle titled 14 Kanye Tweets at Their Best. Time is paying fresh attention to @KanyeWest because the rapper just tweeted an apology (Im sorry Taylor) to Taylor Swift. Kanyes belated arrival on Twitter (with a Twitter Verified Account, launched in July) has had me thinking about how, increasingly, the news media has a nifty new way of reporting entertainment news: regurgitating celebrity tweets. It wasnt that long ago that a celebrity with something important to put out there, like an apology, would automatically say it through a tightly controlled protocol, like a set of engineered sound bites delivered via a well-staged interview. Now 140 characters or fewer suffices. Bad grammar is fine. Messy emotional baggage? Great! (See @LindsayLohan). Issues of profound personal importance that you might have previously funneled through Liz Smith? Pull out your BlackBerry! (Neil Patrick Harris a.k.a. @ActuallyNPH: So, get this: David and I are expecting twins this fall. Were super excited/nervous/thrilled.). Of course, things can get badly bollixed when old-school celebrities like Kelsey Grammer get on Twitter. Grammers rep, Stan Rosenfield, recently told TVGuide.com that there was no Frasier spinoff in the works, despite what appeared on @Kelsey_Grammer. Thats what happens, he explained, when [the] people who do your tweeting misinterpret something. Still, weve come to expect even big news from Hollywood by tweet , direct (more or less) from the players themselves-off-the-cuff, in a by-the-way fashion. As the celebrity-industrial complex goes, so goes the rest of corporate America. Consider, for instance, How Steve Slater Is Stifling JetBlues SocialMedia Strategy, an August report by my colleagues Rupal Parekh and Michael Bush. The gist of it was that the world wasnt expecting the airline to address its little steward-on-the-verge-of-a-nervous-breakdown problem via press release.

We wanted JetBlue to chime in immediately on its @JetBlue Twitter feed and its Facebook page. Over the summer, BP dutifully issued press releases detailing its well-plugging and cleanup efforts, but it dropped the ball on Twitter, leaving an opening for the parodists of @BPGlobalPR to wreak havoc. The long-suffering, much-maligned press release, Id argue, finally died this summer, thanks particularly to JetBlue and BP, with a little moral support from Kanye West and just about every other celebrity with thumbs. (Of course, press releases will probably continue to stumble along, zombie-like, for years to come, because too many PR folks are still heavily invested in grinding them out.) Legend has it that early PR man Ivy Ledbetter Lee issued the very first press release in 1906 on behalf of the Pennsylvania Railroad, after a derailed train plunged into a creek in Atlantic City, resulting in 53 passenger deaths; The New York Times printed it verbatim. If the same thing happened today, wed all be looking for @nytimes to RT @PennsylvaniaRRs realtime spin. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 THE WORK BYLINE: Teressa Iezzi; tiezzi@creativity-online.com SECTION: Pg. 35 Vol. 81 LENGTH: 490 words

EBAY EBAY BOX EBay launches a new green-shipping initiative. This new, reusable shipping-box is the latest invention to come out of eBays Innovation Expo, which invites all the companys employees to submit ideas that will benefit buyers and sellers. The winning idea, based on the idea of simple green shipping, emerged from submissions by 250 employees and 80 teams. The box is constructed to be reused at least five times over. By the companys estimates, the use of the boxes could help protect 4,000 trees, conserve 2.4 million gallons of water and save enough energy to power 49 homes in a year. DESIGN FIRM: OFFICE GUS & JOE AGENCY PIZZA MAKER Want job, make pizza. Swedish creative team Joel Utter and Gustav Hedstrm have been trying to lure job opportunities with pizza. The duo devised the Agency Pizza Maker site whereby agency execs can design their ideal pies-and get them delivered straight to their doors by the eager interviewees. According to the team, the interviews are lining up now and were getting more and more busy, but it doesnt sound like theyve found a permanent parking place just yet. CREATIVE: GUSTAV HEDSTROM, JOEL UTTER IDEA/CONCEPT/DESIGN: GUSTAV HEDSTROM, JOEL UTTER MICROSOFT XBOX HALO REACH DELIVER HOPE (EXTENDED CUT) AGENCY: AGENCYTWOFIFTEEN The saga continues. Microsoft Xbox and Bungie just released this extended cut of Deliver Hope, the capstone of the campaign promoting Halo Reach. Directed by Noam Murro, the film made its TV debut on Friday, Sept. 10 on Spike and will premier on Channel 4 in the U.K. on Sept. 14, the day of the games launch. EXECUTIVE CREATIVE DIRECTORS: SCOTT DUCHON, JOHN PATROULIS ART DIRECTOR: BEN WOLAN COPYWRITER: JOE ROSE PRODUCER: JOYCE CHEN MANAGEMENT SUPERVISOR: ZACH RUBIN PLANNING DIRECTOR: NIGEL TRIBE PRODUCTION

COMPANY: BISCUIT FILMWORKS DIRECTOR: NOAM MURRO SENIOR EXECUTIVE PRODUCER: SHAWN LACY TELEGRAPH UK FASHION AND BEAUTY CHANNEL DIGITAL AGENCY: MADEBYMANY The new look of fashion. U.K. digital agency MadeByMany debuted a revamped site for the Telegraphs Fashion and Beauty Channel, the publications most commercially successful destination. MadeByMany worked hand in hand with Telegraphs Digital Futures team and fashion and beauty editorial group on the new design, a more luxe format that makes the site a better venue for showcasing fashion editorial and premium advertising. The new look and features make it a more worthy competitor to online mags, social shopping sites and online fashion retailers publishing their own editorial content. UNIQLO LUCKY MACHINE MORE BALLS! Continuing the fanfare around the Uniqlo U.K. online store launch, the brand has released the Uniqlo Lucky Machine, an online pinball game that earns you prizes and discounts. When you start, game play is limited to just a ball or three, but registering and liking the Lucky Machine on Facebook, getting friends to play, sending them balls and reporting your scores will earn you more. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 ITS NOT THE PHONE OR THE APP, ITS THE SHIFT IN BEHAVIOR SECTION: Pg. 27 Vol. 81 LENGTH: 380 words

Did you check in today? Doubtful, unless youre one of the 4% of American adults whove played Foursquare, Gowalla, MyTown or other mobile location-based games. As the numbers indicate, most people just arent into them. But look beyond these particular technologies or services and focus on their power to change peoples behavior. Our obsession with mobile shouldnt be about technology or tactics; rather its the ability to change the way we work, plan, communicate and buy. Mobile is not about location, said John Hadl, whos guided Best Buy and Procter & Gambles mobile practices, among others, in a story in our Mobile Marketing Guide (see page M-2). It affords us the chance to reach a new set of need states-in an emergency room, looking for a hotel, on the way to a store. With mobile, the best tool is to know your customer. Mobile is not as much a technology rethink as a consumer rethink. Its Marketing 101, really: Know your consumer and understand how her behavior is shifting. Now try to be in the right place with the right offering to take advantage of that shift. So why does that elementary rule seem all-too-often forgotten when it comes to the next shiny new (mobile) object? Heres just a few of the behavior-shifting changes that mobile and location-based technology have spawned: Instant information gratification. Gone are the days of mulling over whether it was Mickey Mantle or Babe Ruth who hit the longest home run; with Google and Wikipedia at our fingers, were addicted to answers anywhere, anytime. (It was Babe Ruth, per Wikipedia.) Increasing spontaneity. You not only dont have to pick a preset time to meet (just call when youre ready), you also dont have to plan a place to meet-simply stand on any street corner and shake your Urbanspoon to find the nearest coffee shop, pub or deli. Never lost. When was the last time you had to ask someone for directions? With Google Maps and turn-by-turn directions available on many smartphones, people are rarely, if ever, lost. Perpetual family reunion. More than 150 million of Facebooks users access the site through mobile

devices and theyre twice as active on it than non-mobile users-uploading photos, launching status updates. Wherever you are, family and friends are not so far away. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 HOW THE MOVE VIDEO CONSOLES STACK UP; Wii, Kinect and Move get ready to duke it out over the holidays BYLINE: BETH SNYDER BULIK; bbulik@adage.com SECTION: Pg. 4 Vol. 81 LENGTH: 1093 words

Get ready to shake it. This holiday, video-game makers want everyone to quit being couch potatoes. It all began several years ago with the Nintendo Wii phenom of get-up-and-move gaming, but now competitors Sony PlayStation and Microsoft Xbox are introducing PlayStation Move and Xbox 360 Kinect, respectively. PlayStation claims superior control and sensitivity in its lollipop-like Move controllers, while Xbox is turning gamers bodies into the controllers. Thats right, no wands or sticks on Kinect, just arms and legs-and voices. Meanwhile, Wii can sit back and enjoy its four-year lead, but for how long? We take stock of the players. NINTENDO WII HOW IT WORKS: The grandpa of the bunch, the Wii launched in 2006, with the console box, sensor

bar for the top of the TV, motion-sensitive Wii remotes and the game Wii Sports. The sensor detects the remotes movement and translates that to the screen. AVAILABLE: Now COST: Initial bundle debuted at $249; currently $199. 30 INSTALLED BASE: 16 million units in U.S. through August, according to NPD Group TOP GAMES: Top-selling game is Wii Sports, but Wii Fit and Nintendo franchise titles like New Super Mario Bros. have also been huge hits. So far some 573 million Wii games have been sold worldwide as of June, according to a Nintendo financial report. First-party titles debuting this fall such as the just-released Metroid: Other M are getting good reviews. MARKETER IN CHARGE: Cammie Dunaway, exec VP-sales and marketing for Nintendo of America, who has also worked at Yahoo and PepsiCos Frito-Lay. AGENCY: Leo Burnett, Chicago, is agency of record. MARKETING PLANS: Nintendo may let Xbox and PlayStation fight itout for the get-up-and-go gamers it doesnt already have. A live-action ad for Metroid has been getting online attention, if only for the comparisons to Halos live action ad. So far no additional Wii marketing has been planned for holiday. TARGET DEMOGRAPHIC: Casual gamers and their families. There are games for core gamers who prefer Halo-type games, but not nearly the depth of titles competitors have. WHAT THE INDUSTRY IS SAYING: While the Wii revolutionized the industry, most agree that the Wii has peaked. Sales have slowed and saw a decline for the first time last year (and so far this year), even though its still far outselling PS3 and Xbox 360. In 2009, it sold 9.6 million units, more than the other two combined (4.8 million for Xbox and 3.3 million for PS3), according to NPD. MICROSOFT KINECT HOW IT WORKS: The only hands-free motion gamer to date, Kinect, formerly known as Project Natal, works with a single-box motion sensor that sits in front of the TV and detects and translates a users movements. Wave a hand to sign in and start playing. Kinect also includes voice controls. AVAILABLE: Nov. 4 COST: Two bundles announced, a $400 and $300 package. The motion-sensor device alone, for those who already have an Xbox, costs $150 and comes with a game. INSTALLED BASE: There are 20.12 milion Xbox 360s in the market, and they are all potential Kinect housholds. TOP GAMES: Only eight games listed right now with eight coming soon. They include Kinect

Adventures, which will be boxed in the bundles; Kinectimals, featuring exotic species for pets; Kinect Sports, a kind of pumped up Wii Sports with full body play of soccer, volleyball, bowling, boxing and tennis; and Kinect Joy Ride where users reach out and pretend to grip and turn a steering wheel. MARKETER IN CHARGE: Mike Delman, corporate VP-interactive entertainment business, global marketing. He moved over from Microsoft corporate central marketing group in 2008. AGENCY: IPGs Agency TwoFifteen, San Francisco MARKETING PLANS: Not much yet, other than several intro videos from E3 back in June. Microsoft is staging an Xbox Kinect Hands-On tour with two-to-three-day stops at dozens of malls and state fairs through the end of October. Its also running a promotion to Xbox Live subscribers to win Kinect hardware by signing up via a free Kinect Experience download. TARGET DEMOGRAPHIC: The opening slate of games clearly says family but its expected Kinect will also reach out to its hardcore gamers and Live subscribers in the coming months. WHAT THE INDUSTRY IS SAYING: Unique cool, new technology that casts off controllers, but also potentially limiting in types of games. One drawback is the initial target outside the core Microsoft audience, as David Cole, analyst with DFC Intelligence, said. Microsoft has simply not been strong in marketing to users outside its core. What does Xbox 360 Kinect offer that is not already on the Wii at a lower price? SONY PLAYSTATION MOVE HOW IT WORKS: The PlayStation Eye camera and Move motion controller work together to track a users movements and relay that back to the screen, much like the Wii. All the equipment is compatible with any PS3 model. AVAILABLE: Sept. 17 COST: For newbies to PS3, the complete bundle with console. Eye camera, one motion controller, standard controller and the game Sports Champions costs

$400.
INSTALLED BASE: There are 13.2 million PS3 units, according to NPD, all of which and convert to Move with added hardware. TOP GAMES: Sports Champion is the signature title but games include Capcoms Resident Evil 5, which will have Move capabilities with its Gold edition; EyePet, a virtually projected monkey-like pet that you can play with; and Start the Party! a collection of interactive mini-games. MARKETER IN CHARGE: Peter Dille, senior VP-marketing for Sony Computer Entertainment America, is both a Sony and video-game industry veteran. AGENCY: IPGs Deutsch, L.A. MARKETING PLANS: Expect PlayStation to be aggressive in going after the competition and touting Moves superior features such as Blu-ray and HD graphics. Kevin Butler, the PS3 spokesman played by actor Jerry Lambert, continues as the Move spokesman using scarcasm and deadpan humor and the tagline, It only does everything in TV ads that tweak the competition. TARGET DEMOGRAPHIC: Families seem to the the target out of the gate signaled by the first round of ads, but PlayStation will court its hardcore gameds with shooting/slashing capabilities. WHAT THE INDUSTRY IS SAYING: Kudos to the ultrasensitive game play, and the familiar buttons, as well as the seemingly low entry price point. The odd-looking remote has been the source of endless off-color jokes. Looks aside, critics think the hardware add ons add up too quickly to beome expensive,that its still a bit me-too to the Wii, and are concerned with the lack of must-have titles at launch. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 Whats next, Mens Health? A shoot-me-if-I-get-fat game?; Rodale editors create branded workout routines featured in Kinect fitness video games BYLINE: NAT IVES; nives@adage.com SECTION: Pg. 4 Vol. 81 LENGTH: 737 words

Plenty of products have carried magazines brand names, from Real Simple brooms to Maxim hair dye to Elle wedge sandals, but video games for the Xbox, PlayStation and Wii have never figured very large in magazines licensing. Now Rodale siblings Mens Health and Womens Health have teamed up with Ubisoft on a fitness game called Your Shape: Fitness Evolved, due this November for Microsofts Xbox and its Kinect motion-detection system. The games cover advertises Workouts Created by Mens Health and Womens Health. Signs in the games virtual gym say things like Mens Health Sleeve-Busting Arms Workout. The magazines fitness director designed the games workouts. Although magazines editorial missions rarely lend themselves to, say, first-person shooters, Rodale is betting that the success of motion-detecting fitness games such as Jillian Michaels Fitness Ultimatum for the Nintendo Wii has opened a new avenue. Its a huge new space for us, said David Zinczenko, editor in chief of Mens Health and editorial director of Womens Health, both of which are published by Rodale. Maybe it leads to our own game in the next 12 to 14 months. This is a massive untapped target audience that both Mens Health and Womens Health would benefit from reaching. You can see why magazines might like to get into console gaming, even if game sales cooled in 2009 and 2010. Gaming boomed earlier in the past five years, a period when magazines ad page sales suffered badly from the recession and competition from other media. But dont expect the shelves at your local GameStop store to start looking like a newsstand any time soon. Finding the right editorial fit, not to mention acceptance from gamers, is still no sure thing. Remember back when our parents looked for things with the Good Housekeeping Seal of Approval? said Michael Pachter, a managing director in equity research at Wedbush Securities, whose focuses include the gaming industry. Thats what were looking for in a magazine-branded video game. If you have the Mens Health brand on a game, the connotation is that the editorial staff have reviewed it. But there arent that many games that fit. Ubisofts Your Shape game isnt the first to invoke a magazine brand. In June Field & Stream

magazine and 505 Games U.S. released Field & Stream: Total Outdoorsman Challenge, a hunting simulation game for the Xbox. Field & Stream, part of Bonnier, is encouraged by the early sales, said Eric Zinczenko, VP-group publisher at Bonniers Outdoor Group, and brother of Rodales David Zinczenko. Its been selling well enough to this point that we know we are going to release a Wii version of this game in the fall, in time for the holidays, and weve begun work on the second generation of this game for next year, he said. But at least one game reviewer wasnt impressed. The 360 has a handful of half-decent hunting options, but this isnt one of them, Official Xbox Magazine wrote. Back in 2005 Playboy lent its name to Playboy: The Mansion, a Sims-esque PlayStation 2 game in which players take on the role of Hugh Hefner as he throws parties and tries to build a publishing empire. It bombed, Mr. Pachter recalled. Life, for Hugh, is good, a review on the gaming site IGN said. Too bad its just not very fun. For all that real Hugh has going for him, virtual Hugh cant seem to escape the pedestrian lifestyle of your average Sim. Most magazines may still do better finding other ways to benefit from game consoles. Sports Illustrated is offering a free EA Sports game as an incentive to some new subscribers and has made content from its Swimsuit Issue franchise available on the Xbox and PlayStation online stores. Magazines also sometimes appear as props inside games. Many magazines, particularly those that have been around for a while, are iconic properties that represent a readership and lifestyle people can associate with, said Corey Cohen, executive editor at Official Xbox Magazine. Thats why youll see a fitness game leveraging well-known fitness magazine brands, or recent action games like Dead Rising 2 and Mafia II featuring covers of actual Playboy issues. Because magazines are a tangible product, Mr. Cohen added, they do have the obvious benefit of being something you could potentially pick up and hold, or even read, in a video game, which would be cool for game, gamer and magazine publisher. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 THE EVOLUTION OF SEARCH SECTION: Pg. 32 Vol. 81 LENGTH: 81 words

With Google Instant, each query can result in dozens of searches, some very different than the original intent. Consider the evolution of a search for Mens Work Boots Size 10. 1 After Mapquest (M) and the Mets (Me), we get to Men, which delivers, well, some menus. 2 Mens Work isnt getting us much closer, but maybe a chance to consider exercising more. 3 Heres where the time-saving happens-three keystrokes. Results dont change between Mens Work B and Mens Work Boots. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010

What Google Instant means for marketers: more ad impressions; Brands attached to first-letter keywords will benefit, but what about quality of those clicks? BYLINE: MICHAEL LEARMONTH; MLEARMONTH@ADAGE.COM SECTION: Pg. 1 Vol. 81 LENGTH: 899 words

Last week, google made the biggest change to the look and feel of web search since the advent of the search ad. Rather than wait for a fully-formed search query, Google Instant is now pouring in search results from the first keystroke, bombarding users with information, as well as search advertising. The service is fast, and for sophisticated users of search, certainly saves time. (Google estimates two to five seconds per query). But marketers are watching the data closely for signs of shifts in search behavior, and how they impact both clickthrough rates and-more importantly-sales. On the line is the nearly $2 billion that advertisers spend on Google search ads each month around the globe. The immediate impact is a lot more search results and a lot more ad impressions. For the past decade, Google has been training users to conduct more specific searches in more natural language and, over time, queries have gotten longer. But now, users are being presented with results from the very first letter. A specific query like mens work boots size 10 yields dozens of top natural results (Mapquest, Mets, Menupages, Mens Wearhouse, Mens Workouts, etc) as the query is keyed in. The question is how distracting these results are to the searchers original intent and how that impacts clicks and conversions. You usually get to finish your thought, said Kevin Lee, CEO of searchmarketing firm Didit. This has the potential to distract people from what they were looking for and take them in a completely new direction. Its early to tell how this will change consumer behavior, and marketers and agencies will be poring over the data in the coming weeks for signs of shifts in searches and clicks. But even a tiny shift in percentages could move hundreds of millions in search spending, tightly optimized for the way Google worked until last week. While marketers will have to adjust their models slightly, Google execs stress the changes impact all users and marketers equally. Googles guiding principle is to build a product for users, and if it benefits users, it will ultimately benefit advertisers. We didnt build this with advertisers in mind, said head of AdWords marketing Jon Diorio. If someone is clicking, its because theyre finding what they want and thats delivering economic value to the advertiser. It should be a net positive for advertisers because it is a net positive for users. Brands attached to first-letter keywords will get a huge number of new impressions, though Google has attempted to mitigate that in the metrics by only counting an impression when someone stays on a page for three seconds-what it calls a cognitive pause.

Of course more impressions could also result in an increase of clicks, meaning higher search costs for those brands. Some search pros are concerned about the quality of those clicks and whether there is any real intent behind them. Will new clickers convert or buy at the same rate as before? We are seeing our paid ads appear for clients that really have no relevancy on single-letter terms, said Rob Gardner, senior strategy director at iCrossing, a unit of Hearst. First, is that single letter truly relevant to the brand and, second, is it going to drive up the cost of those keywords? While brand names dominate Googles new alphabet, others are looking at how the changes may impact the cost of so-called head terms, the typically expensive generic terms such as flowers, cars or shoes. The cost of those terms may increase if more consumers stop at the first results they see (think: flowers in Cleveland becomes just flowers because thats when relevant results started pouring in). We did run some preliminary data for a dozen marketers and there was a double-digit percentage increase in impressions to general terms, said Bryan Weiner, CEO of digital agency 360i. I think were worried about whether this will increase traffic to terms that are more expensive and tend to convert less well and whether that will have a negative impact on marketer returns. Darren Herman, chief digital officer at Media Kitchen, predicts a steep drop in unique queries as consumers get what they want faster and with fewer terms. This, he predicts, will lead to higher prices for those keywords and more cash in Googles coffers. Marketers have spent years plumbing Google for cheaper, long-tail keywords, as well as misspelled keywords. Both of those strategies, he said, are headed for extinction. Seriously, whos going to keep typing when Googles smart predictions are providing highly relevant search suggestions in real time? he said. Beyond the ads, bigger changes await for those in the business of optimizing natural search, or SEO, as brands attached to letters get a lot more visibility. The rule of thumb in SEO is the most-linked content tends to do best, and this is probably another reason to focus on that now, said David Armano, senior VP at Edelman Digital. Its not just keywords, but key-letters, and we have to figure that out. Google says, so far, consumers are near-unanimous in their enthusiasm, or at least acceptance of the new feature. Mr. Diorio said only a small percentage of users have decided to opt out. The feature is soon heading to Android phones and ultimately to wherever consumers access Google search. This is the new face of search for Google, Mr. Diorio said. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 13, 2010 BERINGER BETS ON HISPANIC MARKET AS GROWTH CATEGORY BYLINE: LAUREL WENTZ; lwentz@adage.com SECTION: Pg. 3 Vol. 81 LENGTH: 486 words

Enchiladas go well with chardonnay or pinot grigio wines, and strong, spicy foods like mole can be paired with a sauvignon blanc, according to Beringer Vineyards new Spanish-language wine wheel, part of an innovative pilot program starting this week to target U.S. Hispanics. Although beer and tequila get plenty of ad dollars, the wine category has largely ignored Hispanics except for a few holiday ads or translations of general-market campaigns-until now. Theres big growth in the Hispanic segment and wine drinking by Latinos, said Francesca Schuler, who joined Beringers owner Treasury Wine Estates as chief marketing officer of the Americas a year ago from Method Products, where she was head of marketing at the environmentally friendly household products company. Since 2005, wine consumption among Hispanics has grown by 35%, about three times the rate of the general market, she said. Hispanics account for about 50% of growth [in the wine category], Ms. Schuler said. When people say theyre interested in multicultural marketing, there are people who really mean it and others who just say, Put it all in Spanish, she said. Sometimes youre totally offended by what people try to pass off as Hispanic. For Beringer, it means inviting Hispanics to make Beringer part of their traditions, and including a strong educational element, both consistent with how the brand is positioned in the general market.

The campaign, by Los Angeles agency Baru Advertising, is themed Invita el Sabor (Welcome Home the Flavor) and kicks off Sept. 13 in Los Angeles with a TV spot set at a backyard barbecue, a family dinner and a kitchen where a couple cook together. (Beringer isnt doing TV in the general market). Vignettes also start this week on lifestyle TV programs Tu Estilo on Univision and Acceso Total on Telemundo, featuring Beringer winemaker Leticia Chacon Rodriquez, who is from Mexico. In the vignettes, she talks about food and wine pairings, Beringers history and wine basics. Univision will also air promercials with the networks voiceover artists talking about wine pairings for holidays and grilling. And Telemundos Acceso Total hosts will also do a 13-part weekly series of twominute segments in which they visit popular Latino restaurants in Los Angeles and ask the chef to prepare dishes with different Beringer wines. Promotional materials to be given out at events and retail locations include the wine wheel, divided into three flavor groups, with suggestions for Latino dishes for each group. In print collateral material, the food pictured is all Latino: empanadas, taquitos, guacamole. Often on wine and foodie websites, they pair a wine with a pungent Brie cheese. Everyday Latino consumers dont spend time in the French cheese section, said Elizabeth Barrutia, Barus CEO. The initial pilot marketing campaign in southern California will run till the end of the year. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 How the iAd gave mobile marketing needed shot in arm; Apple effect may have helped change game in mobile advertising, but analysts agree its still anybodys win

BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. NAN Vol. 81 LENGTH: 1131 words

What a difference an i makes. When Steve Jobs introduced Apples very own mobile ad unit, the iAd, on a stage in Cupertino, Calif., the mobile ad industry arguably got its highest-profile endorsement to date. Its awesome-Steve just did a big commercial for mobile advertising, Jason Spero, VP-general manager of Googles AdMob, told Ad Age at the time of the announcement. Mr. Jobs brought a much-needed dose of sexy to a media previously ruled by tiny banner ads. Even though high-end creative-basically mobile ads that looked more like apps than banners-was available in mobile before the introduction of the iAd, the press-conference treatment and Mr. Jobs as pitchman got advertisers to pay attention. Months after the industry was introduced to iAd, demand for rich media in mobile is up, and mobile budgets are on the rise. Apples announcement caused a few clients who previously werent looking at mobile to pick up the phone, said David Bear, executive director of mobile and social media for BBDO Atmosphere Proximity. But certain clients that were less receptive to mobile knee-jerk wanted to know what iAd was and wanted a point of view, he said. Clients, at least in BBDOs case, werent immediately throwing money in mobile rich media. But it got mobile on the radar and started talks on budgets and strategies far beyond mobile ad buys. Though its not all mobile media all the time. When we discuss mobile with our clients, we have a much wider conversation, said Jean-Philippe Maheu, worldwide CEO for Publicis Modem, which built Citis iAd. Ninety percent of the discussion is about other things in mobile advertising, like commerce and apps. BIGGER BUDGETS While mobile rich media predated the iAd, Apples pricing strategy was one of a kind. With iAd, advertisers would have to pony up payment twice, paying cost-per-click on top of a cost-perthousand fee. Whats more, Apple demanded budgets north of $1 million, an usually large sum for mobile ad buys. Those higher asking prices meant iAd couldnt be funded out of existing and comparatively measly mobile budgets. IAd opened mobile up to the larger pool altogether. The budget commitments Apple asked for actually broadened the conversation beyond the usual mobile marketing purview, said Mr. Bear. That was Apples intention: to get some of that TV budget and to get some of those CMOs to look at mobile as a potential channel. Mr. Jobs announced Apple had secured $60 million from advertisers for iAd, a whopping 36% of eMarketers projected $166 million in mobile display spending for 2010. Those projections were

determined before iAd hit the market, and Noah Elkin, eMarketers mobile analyst, says that money was likely new to mobile. These are big ad spenders across any medium, said Mr. Elkin of iAd launch advertisers like Nissan, Citi, Dove and AT&T. Im assuming that they didnt balk at spending additional money in the wake of iAd. That suggests a good portion of money being spent on iAd is net new. SERENDIPITOUS TIMING? But Apple might have stumbled onto some impeccable timing as well. Shortly before Apple bought Quattro Wireless, the mobile ad network that helped launch iAd, another Silicon Valley titan, Google, staked a claim on its own network, AdMob. According to the biggest independent mobile ad network, Millennial Media, the big jump in mobile ad spending started a year before Apple announced iAd, well before it even had an eye on Quattro. I think the hockey stick for mobile advertising started in second-quarter 2009, said Marcus Startzel, senior-VP sales for Millennial Media. Thats when we really started to see a rapid increase in advertiser investment. Apple, largely focusing on its rich-media unit, seems less concerned with participating in the growth of the industry beyond the iAd. Mr. Startzel reports huge demand for Android mobile-ad inventory, which accounts for six-figure portions of some advertisers budgets. Android continues to gain market share, while leader BlackBerry slips, along with Apple, according to ComScore. In August, Apple announced itd be closing Quattro to focus on iAd, sacrificing any inventory it might have been selling on other platforms, such as Android or BlackBerry. That means Apple isnt directly competing with other mobile-ad nets such as Googles AdMob, Millennial and JumpTap for noniPhone mobile-ad inventory. It also underscores that iAd isnt the only force bringing the spotlight to mobile marketing. Smartphone penetration continues to rise, location-based services have shaped up to be the digital marketing darling du jour, and Googles figuring out ways to build AdMob into its massive ad infrastructure (See story, P. M-3). REGULATORY EFFECT While likely unintentional, Apple even had a hand in Googles role in mobile advertising, too. It wasnt until after Apple introduced iAd that the Federal Trade Commission finally OKd Googles $750 million acquisition of AdMob. Google announced the deal in late 2009, which prompted an investigation to weigh if the move could mean a monopoly in digital advertising. Then, after more than six months of scrutiny, the FTC greenlit the transaction in May, one month after Mr. Jobs took the stage to introduce iAd. As a result of Apples entry [into the market], AdMobs success to date on the iPhone platform is unlikely to be an accurate predictor of AdMobs competitive significance going forward, the agency said in a statement. BETTER CREATIVE

While ad networks like AdMob offer rich media creative-Google has broadened its mobile creative palette to also include expandable maps and interactive video in the months since iAd launchedApples laser focus on iAd brings it closer to rich media providers like Medialets. But thats not necessarily a bad thing for the competition. Medialets Chairman-CEO Eric Litman says hes seen a significant uptick in business since iAd. Mr. Litman sees Apples influence as providing more attention for rich media in mobile. I see a faster shift toward rich media as a dominant display format, he said. Twenty percent of total spend in online display goes to rich media, and it took tenplus years to get there. In mobile, its approaching that level now. All the attention could definitely mean a higher creative standard for mobile advertising. Apple did it before with iPhone and its apps. Some ad agency execs report difficulty in convincing clients to test mobile before Apples phone, since advertisers just couldnt imagine their brands in mobile before the iPhone and its slick user interface. By having Apple stake its claim in that realm of the display market, its planted a flag and said: This is the bar and how we plan to raise it, said eMarketers Mr. Elkin. If you want to compete, youll have to do the same. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 WHATS A PHONE GOOD FOR AROUND THE WORLD?; From Middle East to Latin America, how mobile is being used BYLINE: ABBEY KLAASSEN; AKLAASSEN@ADAGE.COM SECTION: Pg. NAN Vol. 81

LENGTH: 290 words

Its fast becoming a multimedia device, good not just for surfing the web but also for playing games and watching TV. According to Nielsens Emerging Digital Trends Report, three in 10 internet users from around the globe access the net from their phones. That behavior is most prominent in the AsiaPacific region, where 71% of internet users have logged on from their phones in the last 30 days. Thats followed by 68% in Middle East-Africa-Pakistan (MEAP), 46% in Latin America, 37% in Europe and 34% in North America. Nielsen reports that when it comes to watching video on mobile phones, one in five have tried it out. Middle-East-Africa-Pakistan comes in the highest for video-over-the-phone at 72%, followed by Asia-Pacific at 70%. Thirty percent of North Americans lay claim to watching mobile video from their phone, as do 36% of Europeans and 57% of Latin Americans. And video on non-phone handheld devices, such as the iPod Touch or Portable PlayStation, follows the same trend-line, having the highest penetration in Asia-Pacific and MEAP. But what about when it comes to just making calls? The region least likely to use a landline and most likely to use a mobile phone is Asia-Pacific, followed by MEAP. In the Asia-Pacific region, 83% of people primarily use a mobile phone, while 16% use a landline; in MEAP, its a 75%-to-17% rate of mobile-to-landline usage. Sixty-three percent of Latin Americans grab the mobile phone first, compared to 57% of Europeans; when it comes to using the landline those figures total 33% and 37%, respectively. And North Americans are the ones most likely to still use a landline: 40% say they primarily make calls from a wired line while 56% of North Americans primarily reach for the cellphone. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age

September 13, 2010 Whats in your mobile wallet? Not much for U.S. shoppers; heres why; While contactless payment programs thrive in places like Japan, tech and infrastructure hurdles stifle American advancement BYLINE: KUNUR PATEL; kpatel@adage.com SECTION: Pg. NAN Vol. 81 LENGTH: 951 words

The next mobile frontier will find our wallets at home and smartphones taking the lead at registers. But right now in the U.S., cellphones trumping plastic at the point of purchase is still far off. Whats taking so long? Mobile wallets have taken off in places like Japan but have been slow to develop in the U.S. primarily because of technology and infrastructure problems. No major cellphone ships with a microchip that allows for secure touch-to-pay at registers. Even with the chips, retailers would have to install readers at every point of purchase to accept those mobile payments. Major contactless payment programs, which are primarily chips on debit cards today, only have about 1 million acceptance points by now, as projected by research firm Celent. Add to that infrastructure lag a tug of war between carriers, credit-card companies and merchants for mobile transaction fees. Carriers control security on phones-SIM cards-so they also expect a cut, while banks want fees for brokering transactions and merchants dont want to pay more. You have a perfect storm of technical and business model stagnation-thats the challenge, said Drew Sievers, cofounder-CEO of mFoundry, a mobile financial-services provider. Stakeholders such as Visa, Bank of America and even Apple are working to overcome tech hurdles. But before retailers pony up to install readers on their end, they might want to back up to see if consumers will be willing to give up plastic in the first place. In 2008, there were 449 million Visa or MasterCard debit cards in the U.S., according to consumer-payments authority Nilson Report. If there are 310 million Americans, thats more than one per person. There has been so much focus on the gee-whiz technology, but how is mobile better than the card that is already in my wallet? asked Red Gillen, Celents senior analyst on mobile banking and payments. Cards are a high hurdle to clear. They work well; they offer points. How are you going to top that? There have been millions of debit cards with contactless chips, but there hasnt been a huge spike in stores that can accept them, Mr. Gillen added. In order to get that mass adoption for any payment network, you need to get the receiver and payer, said Jack Dorsey, CEO of Square, a startup thats focusing on using mobile to read plastic cards, rather than using phones for payment. There needs to be significant benefit to do that. Pure convenience is not enough.

The incentive may be the loyalty app. A crop of checkin apps such as Shopkick, Loopt Star and Checkpoints have emerged as digital corollaries to retail reward cards. Retailers such as Best Buy and Macys have launched app programs that incentivize shopper behavior like checking in to stores or scanning product barcodes, but no apps include rewards for purchases just yet. You can put a lot of information around these transactions, and I think loyalty is one of them, Mr. Dorsey said. The coffee card is a lot easier if all the payments are electronic. To date, Starbucks payments app from mFoundry is widely considered the largest mobile payments initiative in the U.S., though its only in eight stores in the coffee chains hometown (Seattle), eight stores in Silicon Valley and in 1,000 Target cafs. Starbucks is satisfied with mobile payments performance and plans to expand, said Chuck Davidson, category manager-innovation for the Starbucks card, while declining to provide specifics. Unlike the category in general, Starbucks has been able to sidestep the transaction fees because it controls all three arms of the purchase process. The coffee chain issues cards and accepts payments, bypassing both bank and merchant interests. Mr. Davidson said its a way to serve customers that often leave their wallets at work when they go out for their afternoon coffee. After first launching on iPhone, the chain recently expanded to enterprise-centric BlackBerry handsets. The same model could work for daily expenditures out of refillable accounts, like those for transit systems. Transaction data is also stored in the Starbucks app-purchasers show barcodes on their screens to cashiers-so the carrier is cut out, too. Target has also managed to launch mobile payments through a gift-card program, though the big-box store uses images of gift cards rather than barcodes. Starbucks launched mobile payments last September and added in its loyalty program in March after customers specifically asked for the feature. The No. 1 thing they asked for was mobile payment, Mr. Davidson said of the coffee chains online community, MyStarbucksIdea.com. No. 2 was that they wanted to track their loyalty stars: I know I got a point, but why cant I see it? Celents Mr. Gillen points to McDonalds in Japan as a prime example of how loyalty programs can team up with sales. The fast-feeder sends mobile coupons to its 18 million loyalty-program members. Customers then choose either to redeem through the mobile web to get discounts or to download the offer to their phones payment chips. With the chip option, users can pay for food out of mobile wallets-a widespread phenomenon in Japan. Their orders get automatically sent back to the kitchen and McDonalds builds profiles about customers based on what they buy when. Say Mr. Gillen tends to redeem teriyaki-burger coupons on Saturdays; McDonalds could try to get him to come to a restaurant on a slow day with a specially tailored coupon. Using this technology to build a coupon just for me, thats where this is going, he said. They dont know your name, but they know your behavior. They know that a certain customer has certain preferences, and they can try to tweak that to increase sales. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH

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Advertising Age September 13, 2010 Marketers are mired in middle of heated net-neutrality debate; As media giants jostle over open net, buyers fret over whether tiers could stifle advertising BYLINE: EDMUND LEE; ELEE@ADAGE.COM SECTION: Pg. 3 Vol. 81 LENGTH: 825 words

Google and Verizon set off a heated round of debate over the contentious issue of net neutrality last month when the two media giants jointly announced a proposal for an open internet. On one side, bloggers and tech adopters attacked the statement with a religious-like fervor because a section left open the possibility of a closed, or tiered, internet. They saw Google, which has publicly backed the concept of net neutrality, as a turncoat. On the other side, telecommunications giants argued that emerging infrastructures, such as mobile data networks, need the ability to ration and monetize bandwidth as they see fit. In the middle? Marketers. While several of the countrys largest ad spenders are lobbying against net neutrality, some online-advertising buyers worry that a tiered internet would stifle innovation and new forms of online marketing may never see the light of day. Net neutrality is a tacit tenet of internet commerce that suggests all content should be treated equally by carriers. Net neutrality advocates, which count academia and online businesses among their ranks, support legislation to ensure that will continue; the opposition, largely telcos and cable operators, oppose such a law and favor allowing private enterprises to decide how to regulate bandwidth and traffic.

One way to see the net neutrality battle is to see it in terms of the fact that the carriers are trying to get a piece of the internet advertising revenue-now they get zero, said Tim Wu, a Columbia Law School professor who coined the term net neutrality in an academic paper in 2003. He chairs Free Press, a nonprofit that has lobbied Congress for net neutrality, and has also consulted FCC Chairman Julius Genachowski. In recent years, telecommunications giants like Comcast that supply access to the internet have groused about the commodity-like fees they receive to supply that access, while behemoths like Google have reaped billions in profits for businesses built on broad internet access. The telcos have also earned a pretty penny in the internet age, but the costs of maintaining the infrastructure to support the internets growth has also risen, prompting the carriers to lobby for more dollars. But echoing Mr. Wus sentiments, some marketing executives have expressed concern for what a tiered internet may mean for advertising. The creation of a biased internet would stifle innovation in this channel, said Scott Susskind, chief technology officer of the IPG Media Lab. Were still in a burgeoning industry. The loss of net neutrality would unnecessarily create friction on the creation side as well as for distribution. More specifically, the concern among marketers is that limiting, or tiering, access to publishers and content limits choices for brands and narrows the audience. The internet is the influential channel it is today because of access and the ability to create innovative experiences that work across all digital touchpoints, said Colin Kinsella, president of Digitas North America. Without net neutrality fees to create and promote experiences will increase as properties pass on usage fees, and we would see limits on supply and audiences. The barrier to publish on the internet is low, making it a fat source for innovation. Facebook was born out of a Harvard dorm room; Google from a garage. The two biggest sites on the internet are also two of the biggest distributors of online advertising, which suggests the industry as a whole may not even have taken shape had carriers started differentiating content. Consider the impact of Foursquare to yesterdays Google, said Sean Finnegan, president and chief digital officer of Starcom MediaVest Group. That likely was dependent upon a free and open source, without limitations to connectivity. It would be unfortunate if certain costs were to thwart innovation. Some argue that there are potential benefits to a semi-closed internet. If the traffic is prioritized to some video sites where consumers can get high-bandwidth video, it would increase traffic there and would give advertisers more potential to target them with more robust ads, EMarketer analyst David Hallerman said. Or big portals could sign sweetheart deals with carriers, allowing them to secure more of the online audience. Some of the countrys largest marketers have stayed mum on the issue, despite the effect on online advertising. According to people familiar with the matter, some ad industry execs dont want to offend two of the biggest spenders, namely AT&T and Verizon, who oppose net neutrality. They, along with other carriers, are members of the Interactive Advertising Bureau. The telcos are perhaps

the most aggressive and successful lobbiers in Washington, which means net neutrality may become an ongoing issue. This cycle has happened before, Mr. Wu said of the emergence of a few key corporate players dominating the legislative process. Its going to be a struggle. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 GOING FORWARD, COUNT ON MOBILE TO BE PART OF EVERYTHING GOOGLE DOES; Google VP Omar Hamoui points out that Apple didnt invent good mobile creative, they just marketed it better BYLINE: KUNUR PATEL; KPATEL@ADAGE.COM SECTION: Pg. NAN Vol. 81 LENGTH: 759 words

In May, Google finally got the FTCs blessing for its $750 million acquisition of the mobile ad network AdMob, its most ambitious foray into mobile short of, say, its Android mobile-operating system. Together, Google and AdMob hold 21% mobile ad market share, more than any other player, according to research firm IDC. Since the official go-ahead, AdMob has moved to Google headquarters in Mountain View, and the two have spent the last few months figuring out how they can live together and use the search giants existing infrastructure and ad world clout to help the fledgling mobile ad industry scale.

Ad Age checked in with former AdMob CEO Omar Hamoui, now Google VP-product management, to see how the integration is going, where he thinks the industry is headed, and what the impact is of new classes of devices such as the iPad and location-based apps. Where does the integration of AdMob into Google stand? Will the AdMob brand remain, like YouTube, or disappear? Weve spent the bulk of the time planning what our next steps will be and now were in the early stages of getting that put together. AdMob is mobile-specific; Google has strengths in advertising like ad serving, relevancy and infrastructure. Were trying to put those two together. Though, we havent really figured out the branding yet. What I think about our job here is mobile advertising at Google, but we havent figured out what the heck its called. Does this mean Google is going to start cross-selling mobile ads as part of its existing relationships with marketers? Mobile is going to be an important part of everything we do. Eric [Schmidt, Googles CEO] has been pretty clear with the company that things will be mobile first. Thats across-the-board in terms of products we build and the advertising we sell. Mobile is going to be an increasing part of the strategy in terms of sales. What are the biggest challenges youre facing as mobile marketing fights for scale? What I think is lacking is tools. The underlying infrastructure is poor. A lot of those pieces are things we can affect here at Google. By infrastructure, I mean ad servers, tracking and analytics. We have tools for our customers like DART and Doubleclick that publishers and advertisers use, and we want to make sure mobile is prominently featured in those as well. Mobile ad creative has a pretty low-rent reputation. Apple is trying to reinvent the form. What is Google doing to push mobile creative further? As an independent company at AdMob, we really didnt see huge brand adoption until the iPhone came out. Most phones that are selling well today can do what brands need them to do. Now there are questions about building the tools and the ability for brands to express themselves directly. We want to build the infrastructure for brands and agencies to be able to build campaigns themselves in a way we dont think is available in mobile right now. The best mobile ads Ive seen lately have been iAds, and Apple is producing those ads, not brands or agencies. What does that mean for the business? I think that well before iAd we saw a number of creative shops that developed interesting mobile ad campaigns using HTML5 that are just as rich, if not richer, than what weve seen Steve Jobs demonstrate. I think that certainly iAd has captured peoples imagination because its Apple and they are really good at promoting what they do. Now that Facebook has added location to status updates, are niche location-based services like

Foursquare sustainable? Or is this something the bigger companies are going to rule? I think both. In most big industries, large organizations play an important role. Google is going to play an important role and other large organizations are beginning to figure out how they roll out their local strategy. But there a number of things startups are going to do that we just wont that are still important and that users want. I think its very rare for there to be a space where only startups or only big companies can figure out how to add value. I dont think smaller players are going to get a disproportionate amount of the attention either. Itll be proportionate to what they invest. What does AdMob have in the hopper for tablets like the iPad and the new Android devices on the way? AdMob does have an iPad ad unit and we are delivering pretty interesting rich media there already, but they are ads that use a lot of similar technologies in iPhone. It can be richer media, but theres nothing fundamentally, alarmingly different yet. And Im not sure there will be. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 GOOGLE CLEANS UP ITS ACT-AND ERASES ONE REPORTERS IDENTITY BYLINE: IRINA SLUTSKY SECTION: Pg. 32 Vol. 81 LENGTH: 288 words

My name has always caused trouble-for me and anyone trying to spell it. But I didnt count on it giving Google any issue. As cofounder Sergey Brin and product chief Marissa Mayer were fielding questions at the Google Instant launch in San Francisco last week, my friend Kevin Marks, VP-web service at BT (British Telecom), nudged me. Hey, your last name breaks it! Kevin said, pointing to the Google Instant search box with my last name typed out and a totally white screen. We tried typing letter by letter. S Skype, Sears. SL sleep train, slanted door. SLU Slumdog Millionaire, Slurpee. SLUT SLUTS We added the K, thinking it would help, but still nothing. Only after you clicked search did my online history show up. Also gone were world-famous economist Eugen Slutsky, who authored the Slutsky Equation; Irina Slutskaya, the first female Olympic ice-skater to land a triple lutz-triple; Boris Slutsky, a pianist who has performed in Carnegie Hall; and the slightly-more-obscure Boris Slutsky, a poet. As Cade Metz from the U.K. Register discovered, the bug didnt apply to everyone with a dubiously spelled name-typing FUC got you nothing but FUCC got you Fuccillo, a car dealership named after its owner. Just as the second C rescues Fuccillo, shouldnt the K save the amazing Slutskys? When it was my turn for a question, I grabbed the mic: I see that you have some blacklisted words, and my last name is one of them. What is the criteria? One of the engineers replied that Google filters search to protect users from violence, hate and pornography. Later, Ms. Mayer thanked me for helping identify what she said was a bug. Well work on that, she said. But so far, Google Instant has me waiting. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 Spikes supersized ad breaks buck TVs clutter-busting trend; Over-stuffed pods cram in up to 20 advertisers, raising buyer ire and concern inventory is being devalued BYLINE: BRIAN STEINBERG; bsteinberg@adage.com SECTION: Pg. 1 Vol. 81 LENGTH: 1208 words

Well be right back after these commercial messages. Will you? Spike TV has turned the venerable commercial break into a commercial marathon. During certain broadcasts of Entourage, the Viacom cable channel has quietly run ad breaks ranging anywhere from six minutes in length to something approaching an eyebrow-raising 10 minutes in total. In some cases, the ad breaks are longer than segments of the show, episodes of which have in recent weeks taken as long as 48 minutes to run. Commercial breaks, known in the industry as pods, once offered an opportunity for quick trips to the bathroom or to grab a snack from the fridge. Viewers could use the Entourage ad breaks to brown a chicken for a casserole or walk briskly around the block. Should viewers have remained in front of their sets, they would have endured something perhaps even more onerous. The same ad from the same advertiser-Burger King, Pep Boys or Unilevers Axe among them-was broadcast several times over the course of multiple episodes. Viewers dont like clutter, said Debbie Solomon, managing director-business planning, at WPPs MindShare. She has studied the effects of commercial loads since the 1980s. Every study weve seen on the subject says the same thing: More clutter is bad for your commercials. Viewer interest has long been known to drop off the longer a commercial break lasts. Yet the issue continues to be a sore spot for ad buyers considering cable. Many general-entertainment cable outlets will jam more commercials into a particular program when they can-as anyone who has watched a three-hour airing of Lethal Weapon or Office Space can tell you. Its one thing to pad a show with more ad interruptions; its another to run ad breaks so long they could send viewers fleeing to another channel. The problem is compounded by viewers who own digital-video recorders and can skip past ads the very moment a commercial break seems to get too long, dull or irrelevant.

This is not the direction that television is going in. Television is going the other way, to have shorter breaks so that people cant just skip our advertising, said Ed Gold, advertising director at State Farm Insurance. The company had its ads appear in two different ad breaks each about nine minutes in length during Spike telecasts of Entourage episodes Friday, Aug. 27. I will tell you right now, we at State Farm find an eight-minute-to-10-minute commercial break unacceptable, he added. On Aug. 27, some Entourage segments were about four minutes in length, while some runs of commercials that night ran as long as eight or nine minutes. One ad break even ran as long as 10. Minutes devoted to ads and promos accounted for more than half of each episodes 47-to-48-minute run time that evening. By Friday, Sept. 3, Spike appeared to have pulled back: Some Entourage segments lasted as long as five minutes, while six to seven minutes were devoted to ad breaks. Episodes were clocked at 39 to 40 minutes. To be sure, Spike has some challenges when trying to run Entourage. The episodes of the bawdy HBO show about a movie star and his pals often have to be cut to meet basic-cable standards of decency, leaving Spike to fill extra time (The length of Entourage episodes can vary, but are typically delivered to Spike between 21 and 24 minutes in length). Ratings for the program have not been stellar since Spike started running it in January; the network paid a hefty fee of around $600,000 per episode, according to several press reports. We dont want to put our customers in an environment that is not appropriate for their commercial messages, said Jeff Lucas, exec VP-sales, at MTV Networks Entertainment Group. If theres a problem, well fix it. One way to change the situation might involve pruning the number of commercials running end to end. To build a 10-minute ad break Aug. 27, Spike started off with a promo for its UFC programming, then ran spots for DirecTV; Unilevers Axe shampoo; B.F. Goodrich; Schering-Ploughs Zegerid OTC; Jack Links beef jerky; VF Corp.s Lee Jeans; Screen Gems latest Resident Evil movie; AT&T; Miller Lite beer; and Progressive Insurance. But wait, theres more: Ads also ran during the break for PepsiCos Mtn Dew soda; Pep Boys; Trojan condoms; Outback Steakhouse; Mobil motor oil; Sony Corp.s Vaio laptop; Diageos Captain Morgan Lime Bite rum; Kraft Foods Dentyne gum; a DVD for the FX program Sons of Anarchy; and UFC action figures. The break was then garnished with what appeared to be two ads from local cable operators. Other popular marketers with ads in the extended Entourage breaks included Allstate, Dominos, Yum Brands Taco Bell, Colgate-Palmolives Colgate Wisp, Mars Snickers and Esurance. One ad-buying executive frowned. We know every network at times shoehorns in additional commercials to boost revenue, especially in programs with higher unit costs, said Andrew Donchin, director of investment at Aegis Groups Carat. But this situation is especially egregious and very troubling. It not only devalues the commercial messages but, unfortunately, also raises the suspicion that other networks may be playing the same games.

Ad breaks measured recently on other networks appear significantly shorter. On Cablevision Systems AMC, a recent broadcast of the 1971 film Dirty Harry included ad breaks that seemed to last about four minutes. On Time Warners TNT, a recent Monday broadcast of The Closer appeared to contain breaks of a similar length. On CBS, a recent rerun of The Good Wife appeared to contain ad breaks that lasted about three minutes in length, though one break contained commercials from the local station and lasted nearly five minutes. Spike and its fellow Viacom cable outlets may be under some pressure, according to Derek Baine, a senior analyst at SNL Kagan. In the second quarter of 2010, cable outlets owned by others including Comcast, Discovery, Scripps, Cablevision and Time Warner saw ad revenue increase 13% to 21%, while those owned by Viacoms grew only 4%, Mr. Baine said. As such, the Viacom channels are trailing the industry, he added. Viacom executives indicated in a recent conference call with investors that they were encouraged by ad-sales momentum in the third quarter, thanks to new programs on MTV and Comedy Central. TV networks have in recent years tried to cut down on the overall amount of clutter, or nonprogram time, on their channels. In 2006, the average amount of air time devoted by broadcast networks to either commercials or promotions for network shows was flat at about 15 minutes per hour, after rising 3% in 2005. On cable, growth in commercial or promotion time slowed to 1% from 5.5% in 2005, according to data from MindShare. Since that time, the two TV venues have inched in different directions. In 2009, the average time for broadcast networks totaled 14 minutes and 21 seconds per hour and around 15 minutes and 53 seconds per hour for cable networks, said MindShares Ms. Solomon. Too much of this stuff leaves TV viewers with foggy heads. The human mind tends to remember about seven to nine things, she said. You put too many commercials in and people dont remember them. And now, lets return to our show. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 PIGSKIN AND CHICKEN WINGS SECTION: Pg. 9 Vol. 81 LENGTH: 108 words

* Troy Aikman, three-time Super Bowl champion, has been a spokesperson for Texas-based Wingstop since 2003. * Marlin Jackson was featured in a series of TV commercials for Pennsylvania-based Quaker Steak & Lube (35 units). * Wing Zone sold wings in quantities between 50 and 500 and had 100 wing orders during Super Bowl 2010, for a total of 750,000 wings sold. * Wingstop sold almost 5 million wings on Super Bowl Sunday alone. * Wing Zones Honey Barbecue sauce is its top-seller, beating out Buffalo. * Cincinnati chain Buffalo Wings & Rings serves 45 sauce combinations, and customers choose their favorite flavors and the level of hotness for each one. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 MEET YOUTUBES MOST IN-DEMAND BRAND STARS; For marketers, web-video celebrities offer trusted voices and an engaged viewership BYLINE: IRINA SLUTSKY; ISLUTSKY@ADAGE.COM SECTION: Pg. 8 Vol. 81 LENGTH: 1252 words

Once upon a time, YouTube was considered the Wild West-its so-called stars more likely to produce cringe-worthy performances than to displace the pitch-men and -women of traditional media. But now big-time brands like Lancome, McDonalds, Ford and Kelloggs are trusting YouTube celebs with their money and reputations. The reason we turned to them is because they have a valid voice in their community, and people trust what they say and what they think, said Scott Monty, head of social media for Ford Motors. Theyve got trust and, it turns out, engagement. What these YouTubers have proven is that they have engaged viewers-they comment, they talk on the YouTubers Facebook page, on Twitter. The brands want millions of views, but they also want engaged viewers, said Caroline Giegerich, director of innovation at Initiative, which was one of the first agencies to run a successful YouTube stars campaign with Carl Jrs. If theyre engaged with the stars, clearly they are engaged with the brand it means someone is not just seeing an ad and forgetting about it. In the beginning, neither the brands nor the YouTubers themselves had much of an idea how much they were worth. But the price of hiring a YouTube celebrity to pitch a product is now comparable to hiring a B-or C-level Hollywood celeb. Ryan Higa publicly lists his starting rate as $75,000 per appearance, a fraction of what someone like Paris Hilton charged for her Carls Jr. commercial. Some, like Joe Penna, a.k.a. MysteryGuitarMan, feel as comfortable pitching themselves to brands as they do their audiences. I get millions of hits, and I know my demographic-I know what kind of video will be in line with my channel, Mr. Penna, a 23-year-old former pre-med student, said. The best thing the brands can do is come to me with a blank slate and ask me, What can you do with this product for us? Ad Age teamed up with TubeMogul to find the stars racking up the views. CHARLES TRIPPY WHO IS HE? Mr. Trippy, 26, and Alli Speed, 21, vlog a homemade reality show called Internet Killed Television that is widely known as CTFxC. Mr. Trippy has been on YouTube since 2006 and continues to vlog almost daily-he hasnt lost interest or enthusiasm for the

venue. CONTENT: Daily life vlogs with his fiance. VIEWS (ALL-TIME): 159,489,749 BRAND VIDEO VIEWS: 2,122,380 BRANDS: Gillette, Google, Xacti Passion DUDEPERFECT WHO ARE THEY? Garrett Hilbert, Cory Cotton, Cody Jones, Sean Townsend, Panda, Coby Cotton, and Tyler Toney-a team of trick-shot basketball entertainers from Texas CONTENT: Impossible basketball shots VIEWS (ALL-TIME): 27,712,318 BRAND VIDEO VIEWS: 3,241,856 (top campaign for GMC snagged 1,917,028 views) BRANDS: GMC, NBA (Sacramento Kings) FRED WHO IS HE? Lucas Cruikshank WHAT HE MAKES: Videos in which he pretends to be a child in a dysfunctional family with an alcoholic mother CONTENT: Screechy voice, occasional meltdowns VIEWS (ALL-TIME): 585,136,315 VIEWS FROM BRAND VIDEOS: 101,698,863 (includes promos for films and his own merchandise) BRANDS: 20th-Century Fox, Hot Topic, Nickelodeon, Taptivate IJUSTINE WHO IS SHE? Justine Ezarick, 23, LA-based freelance graphic designer. Ms. Ezaricks almost unbelievable ability to create videos several times a day, her deft editing skills, her Apple obsession and her long, blond hair and good looks snagged her a young, male techie fan base. CONTENT: Techie girl vlog VIEWS (ALL-TIME): 171,403,990 BRAND VIDEO VIEWS: 7,408,587 (top campaign was GE, with 1,913,481 views) BRANDS: AT&T, Fox, GE, Intel, Mattel, Nikon, Mozy, MTV, Carls Jr. and Dick Clark Productions MICHAELBUCKLEY WHO IS HE? Michael Buckley, 35, is a comedian who started with a publicaccess chat show called Table for Two. Hes benignly malicious-the opposite kind of meany to Perez Hilton. CONTENT: Celebrity memes/gossip VIEWS (ALL-TIME): 261,715,708 BRAND VIDEO VIEWS: 4,370,345 (top campaign was for Foxs Teen Choice, with 865,885 views) BRANDS: ABC Family, BabelGum, 20th Century Fox, Discovery Networks, Fox television, Nickelodeon, OpenFilms, PriceDoc, Pepsi MICHELLE PHAN WHO IS SHE? A Vietnamese-American who gained popularity after her Lady Gaga Poker Face make-up instructional got 20 million views. Before YouTube stardom, Ms. Phan worked as a waitress in a sushi restaurant and studied illustration. CONTENT: Cosmetics tutorials VIEWS (ALL-TIME): 221,989,434 BRAND VIDEO VIEWS: 22,095,935 (of which Lancome Paris represents 12,234,338) BRANDS: Colgate, Lancome Paris, PriceDoc, Sandisk, Verizon MYSTERYGUITARMAN WHO IS HE? Brazilian-born Joe Penna, 23, is an L.A.-based filmmaker, guitarist and animator who graduated from UMass with a pre-med degree. CONTENT: Music videos and clever mash-ups of himself in his apartment in front of the camera VIEWS: ALL-TIME 138,614,194 BRAND VIDEO VIEWS: 5,125,862 (top campaign is for Microsoft, with 8 million-plus views) BRANDS: Garnier, Pop Tarts, Microsoft, McDonalds, Coca-Cola NIGAHIGA WHO IS HE? One of the highest paid YouTube stars, Ryan Higa is a Japanese-American comedian from Hawaii who started making lipsyncing videos with his friends during college breaks. YouTube stardom followed, and his content is now varied and wide. CONTENT: comedy, short films, parody videos, rants, how-to comedy videos (How to Be a Gangster), advertising spoofs VIEWS (ALL-TIME): 546,333,874 BRAND VIDEO VIEWS: 13,405,781 BRANDS: Google, Carls

Jr. RHETT & LINK WHO ARE THEY? Comedy duo Rhett McLaughlin and Link Neal CONTENT: Humor thats actually funny; not as viral but high-quality videos like Facebook Song, and T-Shirt War; actual commercials VIEWS (ALL-TIME): 66,294,209 VIEWS FROM BRAND VIDEOS: 25,093,462 (top brand campaign was Microbilt, with 9,986,225 views) BRANDS:Alka-Selzer, AJJCornhole (not a joke), Baby Ruth, Coca-Cola, Dentyne, GM, McDonalds, Spy Associates, Taco Bell, Microbilt SHAYCARL WHO IS HE? Shay Butler, 30, lives in Idaho with his wife and kids and produces family vlogs with a funny, edgy cool dad twist. His user name is ShayTards, his baby is BabyTard, and his other children are PrincessTard and SonTard. You get the idea. His most recent Footlocker campaign takes place in a school cafeteria and involves a giant food fight. CONTENT: Family vlogs VIEWS (ALL-TIME): 250,954,220 BRAND VIDEO VIEWS: 5,725,254 BRANDS: AT&T, A1, Google, Kia, Kodak, Sanyo, Footlocker SMOSH WHO ARE THEY? Comedy duo Anthony Padilla and Ian Andrew Hecox, both 22, gained initial fame with the Pokemon Theme Music Video, and this led them to be featured in Time Magazines 2006 Person of the Year issue. CONTENT: Sophomoric teen humor; video games VIEWS (ALL-TIME): 465,534,527 BRAND VIDEO VIEWS: 12,310,844 (top brand campaign was GE, with 4,717,047 views) BRANDS: Carls Jr., GE, Google (Nexus One), Kia, Nintendo, Puma VENETIAN PRINCESS WHO IS SHE? Jodie Rivera, 26, studied opera at the New England Conservatory of Music before becoming one of YouTubes first partners. Ms. Rivera has said, I can make anywhere from the mid-five to six figures per one-to two-minute video with product placement. CONTENT: Parodies of popular music videos VIEWS (ALL-TIME): 258,098,945 BRAND VIDEO VIEWS: 1,697,996 (top campaign, for Pop Tarts, notched 1,562,269 views) BRANDS: Pop Tarts, Samsung WHEEZYWAITER WHO IS HE? Craig Benzine, went to school for TV, radio and film, worked as a waiter at Big Bowl before YouTube success. Hes a hungry up-and-comer with a promising start. VIEWS (ALL-TIME): 13,350,225 BRAND VIDEO VIEWS: 290,145 BRANDS: Ford LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 CORRECTION SECTION: Pg. 27 Vol. 81 LENGTH: 24 words

RE: Lemon-Lime Gets Boost After Years of Neglect (AA, Sept. 6). Diet Sierra Mist will continue to use a blend of aspartame and Ace-K, not HFCS. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 WHAT GETS CRAMMED INTO A 10-MINUTE BREAK? SECTION: Pg. 33 Vol. 81 LENGTH: 116 words

To build a 10-minute ad break Aug. 27, Spike started off with a promo for its UFC programming, then ran spots for DirecTV; Unilevers Axe shampoo; B.F. Goodrich; Schering-Ploughs Zegerid OTC; Jack Links beef jerky; VF Corp.s Lee Jeans; Screen Gems latest Resident Evil movie; AT&T; Miller Lite beer; and Progressive Insurance. Ads also ran during the break for PepsiCos Mtn Dew; Pep Boys; Trojan condoms; Outback Steakhouse; Mobil motor oil; Sony Corp.s Vaio laptop; Diageos Captain Morgan Lime Bite rum; Kraft Foods Dentyne gum; a DVD for the FX program Sons of Anarchy; and UFC action figures. The break was then garnished with what appeared to be two ads from local cable operators. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 13, 2010 As Chinese youth head online, marketers follow with content; With TV inventory scarcer and rates up 20% to 40% this year, more brands are hoping their web videos will go viral in China BYLINE: NORMANDY MADDEN; nmadden@adage.com SECTION: Pg. 6 Vol. 81 LENGTH: 970 words

Faced with limited and pricey TV options, multinational marketers are flocking to popular online video sites to develop branded entertainment series for China, a market in which the most desirable consumers are likely to be online searching for content rather than watching the communal family TV set.

LOral is trying to modernize the dated image of its Chinese makeup and skin-care brand Yue Sai through an eight-part miniseries called Buzz My Heart that launched this summer and follows the lives of three young Chinese women. We wanted to create an online platform that engages women in a new way, said Michelle Kwok, LOrals Shanghai-based marketing director for Yue Sai. So do plenty of other marketers. Branded drama series and entertainment programs are popping up all over China, funded by companies like Unilever, Burger King, General Motors Corp., Ford Motor Co., Kraft Foods, Beiersdorf, Nokia and Anheuser-Busch InBev. The new hot thing in China is to do something viral, said Seth Grossman, Carats Shanghai-based managing director, China. Branded online programming helps create connections for brands by making them relevant in environments where consumers have already chosen to visit. This is especially true for brands catering to young, affluent consumers who seldom turn on TV sets. Chinese households often have three generations living under one roof, with one TV set located in a communal room, usually showing outdated historical dramas and variety shows favored by the elders in the family. Even in less-crowded homes, teens and young adults seldom have a TV set in their bedrooms, but they are likely to have PCs, fast internet connections, and a user account with Chinas major video sites like Tudou, Youku, Ku6, Baidus video channel Qiyi-and even the video offshoots of portals Sina and Sohu. (YouTube is blocked in China). And video sites, often notorious for pirated content, are eager to post more legitimate content and make money doing it. Last year, the number of online video users in China climbed over 32% to 309 million, according to iResearch. The top players say they attract 200 million unique viewers per month. Everyone is jumping to capitalize on the growth of the online video industry in China, as they see the trends of consumer media behavior changing and advertising dollars are shifting toward internet video, said Anita Huang, Tudous VP-product, user and business development in Shanghai. Ad spending in Chinas online video category grew to nearly $200 million last year, a 70% increase over 2008, and iResearch predicts it will continue to grow 60% to 80% annually for the next three years. Younger viewers seek out entertainment online because the programming aired by national broadcaster China Central Television and local channels doesnt appeal to the under-30 crowd, which has easy access to Western series and popular Korean and Japanese dramas. Foreign shows seldom air on CCTV, but are available through pirated discs sold on street corners across China and illegal uploads on local video-sharing sites, where the latest episode of NCIS, for instance, is uploaded, complete with subtitles, within hours of airing in the U.S. Digital media is getting more and more popular. Our goal is to dominate cyberspace, said Shanghai-based Vivian Yeh, new media manager for A-B InBev. The brewer promoted the launch of BudLime in China last month by sponsoring That Love Comes,

the first drama series produced by Orange Box, a unit Tudou set up to make original programming for that video site, and Warehouse No. 6, an independent filmmakers incubation program. BudLime is integrated into the plot as a source of inspiration for the sophisticated photographer who builds his career as he romances his small-town sweetheart. Besides reaching prized consumers, backing branded content deals is a tactic that helps marketers cope with media inflation. TV rates are up 20% to 40% this year, partly because advertisers are creating big-budget campaigns around events like the 2010 World Expo in Shanghai. Those events, and local brands penchant for national TV, are driving up prices and accelerating the shift to digital and interactive media. Media buyers were also hit by a regulatory change this year in which Chinas State Administration of Radio, Film and Television is limiting advertisers access to prime time, causing ad inventory to drop 13%. Unilever will never stop doing TV ads, but cost efficiency is a factor, said Mark Heap, PHDs Shanghai-based managing director, China. His Omnicom Group agency helped develop Unbeatable, an online series created by Unilever to promote its Clear anti-dandruff hair-care line. The series debuted Aug. 1, and is running on provincial TV stations and the major online video sites. The quality of online programming backed by advertisers is improving dramatically from the early days of branded content in China, and often allows a lot of viewer interaction. LOrals series for Yue Sai, for instance, was shot with cinema-like quality, but the real point of the campaign is to drive conversations around the stories, said Bryce Whitwam, Shanghai-based China general manager at Wunderman, which developed the online strategy with another WPP agency, Agenda. Between episodes, there are loads of ways for girls to get involved. GMs joint venture in Shanghai took a similar approach with the 11 Degrees New Media Film Project, a short-film series created by a new Youku unit that develops original content. The GMbacked series brings together 11 up-and-coming Chinese directors. Each film features a Chevrolet Cruze car, and the scripts include ideas submitted by Cruze fans online. Viewers of the online series can earn points by attending offline events related to the film series to win a free Cruze car. LOAD-DATE: September 15, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: AA

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Advertising Age September 6, 2010 NO MYSTERY AS TO WHAT HAPPENS WHEN YOU DONT MARKET SECTION: NEWS; Pg. 0014 LENGTH: 391 words

This shouldnt come as a surprise to anyone, but it seems that when a marketer stops marketing, sales tend to drop. Thats the lesson to glean from observing the lemon-lime-soda category over the past 10 years. For any number of reasons, the marketers behind the biggest brands in the sector pulled back on marketing-almost entirely in some places. Predictably, sales dropped off. Or, more accurately, sales dropped off more than they did for other carbonated soft drinks. Obviously, there are other challenges facing the carbonated-soft-drink sector as a whole. In a country trying to come to terms with an obesity epidemic, soft drinks larded with high-fructose corn syrup are portrayed as one of the key villains. Even without health issues, trends have been leaning toward noncarbonated beverages and energy drinks. So the major players, intent on shoring up their main cola brands, turned off the marketing tap for lemon-lime brands such as Sprite, Sierra Mist and 7Up. Oddly enough, they all seemed to reach the same conclusion at about the same time, perhaps figuring its easier to cut back spending if everyone else is withdrawing from the field as well. Since 2005, marketing investment has dwindled for Sprite and Sierra Mist, the No. 1 and No. 2 in the category, respectively. Each slashed measured media spending by about 80%. During that time, the category shed 160 million cases between 2000 and 2009, according to Beverage Digest. Theres no point in throwing good money after a bad product, but the fact remains that the lemon-lime sector accounts for roughly 10% of the $74 billion carbonated-soft-drink market. Thats a big battleground to cede. Most mind-boggling is the opportunity missed by any of the major players. Perhaps with Sprite going silent, Sierra Mist could have stolen major market share if the PepsiCo brand had launched an aggressive marketing campaign. Pepsi, Coca-Cola Co. and Dr Pepper Snapple Group, which markets 7Up, have come to their senses

and are getting back into the marketing fray. But in some respects, theyre going to have to start building these brands from scratch. There could be some upside to that, but such shortsighted cyclical thinking should be avoided. For a market that promises refreshment, the thinking here has been anything but. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 Inside the black box: What big brands are spending on Google; From BPs boost in June to AT&Ts massive iPhone outlay, internal doc reveals what marketers drop on search BYLINE: MICHAEL LEARMONTH SECTION: NEWS; Pg. 0001 LENGTH: 1023 words

Before BP could stem the oil gusher at the bottom of the Gulf of Mexico, it unleashed $100 million in ad spending, largely on network TV, to stem the damage to its image. But it also started spending heavily where it had never spent much before: buying ads in Googles search results. How much did BP spend on search? In two months, BP went from spending very little on search advertising-about $57,000 a month-to becoming one of Googles top advertisers, dropping nearly $3.6 million in the month of June alone, according to an internal Google document obtained by

Advertising Age. That pushed BP into the upper echelon of search advertisers, in a league with Expedia, which spent at least $5.9 million in June, Amazon, which spent at least $5.8 million, and eBay, which spent at least $4.2 million. This is a significant outlay, even for BP, which spent $94 million on advertising in 2009, and $78.7 million in the first six months of 2010 alone (excluding search), according to Kantar Media. Search advertisers only pay when their ads convert or get a click, and in June the crisis was still at full-boil, driving clicks on BPs ads. But if BP kept spending at this rate, search wouldve become one of its bigger advertising line items by the end of the year, up there with network, cable or spot TV. While the search-spending document obtained by Advertising Age is not a complete list of advertisers on Google, the accuracy of its data was verified by multiple sources with direct knowledge of spending levels. Its a revealing cross-section of Googles business that gives some clarity to one of the most opaque areas of ad spending, and the lifeblood of many American businesses. BPs increase underscores how important Google has become for reputation management, and in the battle for public opinion. In the wake of the spill, Google was a natural first stop for people seeking information, and BP bought up dozens of keywords associated with the disaster such as oil spill, leak, top kill and live feed as it vied for clicks with news stories, images of oiled wildlife and plaintiff attorneys trolling for clients. Google has become the remote control for the world; its the first stop, not TV, said Will Margiloff, CEO of Innovation Interactive, a unit of Denstu. More than any other media, that messaging is requested; people are seeking BPs answers out as opposed to waiting to be told. The steep acceleration of spending indicates BP opted for broad match keywords, meaning many combinations of oil or spill would trigger a BP search ad. BP also bought video search ads, which directed surfers to BP videos. BP declined to comment for this story. Because it controls 65% of U.S. web searches, Googles complex algorithms determine more than any other factor what information is surfaced on the web. Google keeps a tight lid on its technology to keep people from gaming the system. Similarly, search ads are a black box; anyone can buy an ad on Google, but it is very hard to know how much anyone, let alone corporate America, spends there. The exception to that is when Google starts its sales pitch. The primary tactic Google uses to increase ad budgets is to show them what others in their category are spending compared to what theyre spending, said Kevin Ryan, CEO of Motivity Marketing, a search-advertising consultancy. Our review of $574 million of Googles U.S. billings over the first half of 2010 shows plenty of global corporations spending millions each month on search advertising, as well as a great many huge corporations that spend very little, if anything, at all on search. We cant comment on these figures because we havent seen the document in question or determined what these numbers represent, said Dennis Woodside, VP of Google Americas Operations. Were now looking into the possibility that someone improperly disclosed confidential information about

our clients, and [we] will take all appropriate action. At the time of the rig explosion in April, BP barely registered on Google, but neither did its big-oil peers; Exxon Mobile, the worlds largest corporation by market cap, spent just $43,000 on search ads in June. By comparison, one of Googles top advertisers that month, AT&T Mobile, spent more than $8 million on AdWords in June, a big month for the company, which was supporting the launch of iPhone 4. (AT&T is the third-largest U.S. advertiser, according to Ad Age DataCenter; it spent $2.8 billion on measured media-almost $1.3 billion on TV alone-in 2009. The company declined to comment on its search spending.) Other big June spenders included Apollo Group, the company behind The University of Phoenix, online travel site Expedia, eBay and Amazon, which all spent over $5 million apiece on search. The data obtained by Ad Age includes huge brands such as GM, Walt Disney, Eastman Kodak and BMW, which appear to have spent less than $500,000 in June. Tech rival Apple spent just under $1 million on search during the month, as did chip maker Intel. Among Googles biggest spenders are businesses that depend on search traffic, including those that resell AdWords or simply buy Google traffic to resell to their own advertisers, including Hungry Machine, which does business under the name Living Social, which spent $2.4 million in June, and Yellowpages.com, which spent $1.2 million. As a snapshot, its also remarkable that Googles biggest advertisers, big monthly spenders like AT&T, Apollo Group and Amazon, individually accounted for less than 1% of Googles U.S. revenue in June. The top 10 advertisers in the document collectively accounted for just 5% of Googles U.S. revenue during the month. The accounts listed are distributed broadly in terms of spending levels. The document shows 47 advertisers that spent more than $1 million in June; 71 that spent between $500,000 and $1 million, and 357 that spent between $100,000 and $500,000. These are direct-billed customers only, not the many thousands of small self-serve advertisers that make up Googles long tail, a key component in its $23 billion global annual revenue. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 Growth market as progressive schools push green agenda; Green Works, Seventh Generation and others crop up on students supply lists BYLINE: JACK NEFF SECTION: NEWS; Pg. 0002 LENGTH: 667 words

When students arrived at PS 107 in Brooklyns Park Slope neighborhood this year, their parents were asked to provide a triclosan-free liquid hand soap, citing suspicions the anti-bacterial agent found in many such soaps is an endocrine disruptor. Rather than regular disinfectant wipes from the likes of Clorox or Lysol with a host of what the school calls harmful biocides, the letter suggests greener options from Green Works (another Clorox brand) or Seventh Generation. Also on the list, sent by the green committee of the Parent/Teacher Association, are fragrance-free baby wipes, pens with water-based ink, low odor dry-erase markers and Elmer glue sticks, which it said dont contain harmful ingredients. While its a relatively new trend for students to be asked to contribute cleaning supplies in addition to the usual notebooks and pencils, its an even newer trend for districts to be picky about the brands. While Park Slope may be ahead of the national curve in green sensibilities, the concerns of its green committee dont appear to be isolated. Some other New York public schools joined under the banner of Green Schools NYC and the national Green Schools Alliance last year began circulating a list of green supplies. Picking up on growing interest in schools, Seventh Generation has marketed around back-to-school time this year. As part of that, it commissioned a study of 400 parents and 300 school teachers on the subject, finding 60% of teachers request parents donate disinfecting wipes for the classroom and on average use disinfecting products on high-contact areas such as doorknobs daily. But 82% say they fear allergies, skin irritation or asthma may result from use of cleaning products at school. Needless to say, Seventh Generation has a solution to the problem, highlighted by a back-to-school kit of its products and an eco-friendly backpack. The kit and backpack are distributed through hundreds of mostly mommy bloggers through the MyBlogSpark network and a listing of healthy tips available

on PTOToday.com-a site for Parent Teacher Organizations-including switching to disinfectants that have no indoor air pollutants. Seventh Generation also joined with Stonyfield Farm to sponsor back-to-school education events about how to have a healthier school year for 1,000 PTOs around the country this year, each expected to reach 100 to 300 parents, according to Maureen Wolpert, brand education director for Seventh Generation. The movement isnt just limited to primary schools, teachers or parents, either. Method, marketer of natural and botanical cleaning products, recently supplied ingredient information to a San Francisco Bay Area student group, Teens Turning Green (teensturninggreen.org), which is working on creating an eco-janitorial closet list of eco-friendly products that schools can stock. The addition of cleaning supplies to back-to-school lists has been growing for years as financially strapped schools sought donations from parents because of fears about the H1N1 virus and germs, and as such Clorox Co. and Reckitt Benckisers Lysol worked hard and successfully got their brands on lists. As a result, the season has become increasingly important to marketers, Ms. Wolpert said. One difference this year is availability of stronger green-positioned alternatives. Seventh Generation in January launched a line of botanical disinfectants and wipes registered with the Environmental Protection Agency that claim to kill 99.9% of germs, just as Clorox and Lysol products do. Method launched a similar line of disinfecting products and hand sanitizers last month. So far, with some exceptions like PS 107, Seventh Generation hasnt had much success getting its brand listed on supply lists from teachers or PTOs yet, said Ms. Wolpert. Based on what we did last year, our focus for next year will be to increase overall awareness [among parents, teachers and PTOs] about our product availability, she said. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 Ad Age spends a day with Hyundai-yes, Hyundai; Our reporter tags along on automakers Uncensored driving event and watches the converts roll in BYLINE: MICHAEL BUSH SECTION: NEWS; Pg. 0008 LENGTH: 1117 words

Despite a cool and breezy Friday morning in late August, Blake Kanickij is working up a sweat as he scrubs a portable floor in the parking lot of Citizens Bank Ballpark on his hands and knees. Getting a good day is the hardest part, said the project manager for Jack Morton, in between laboring to remove scuff marks left by past visitors and instructing local union laborers laying a rubberized floor. Managing the people and the process is easy. And, in fact, the 50-person team hes choreographing on behalf of Interpublic Group of Cos. experiential marketing agency is making it look deceptively simple to turn one of the stadiums main parking lots into the fourth stop on the 10-city Hyundai Uncensored national tour. This leg of the tour, held at the home of the Philadelphia Phillies and its fans, aims to turn locals into Hyundai fans by putting them behind the wheel of a Hyundai Sonata, Toyota Camry or Honda Accord, taking them through their paces with a course consisting of hairpin turns, evasive maneuvers, high-speed straightaways and conditions that mimic icy roads. Less than 24 hours before consumers start showing up, the scene doesnt look like much of anything. The to-do list, which must be completed by the end of the day, includes: unloading two car carriers and two Hyundai-wrapped shipping containers filled with furniture, flooring and electronics; erecting tents; securing electricity; anchoring the tents with weights; putting up Hyundai signs and building an elaborate driving course using 14 professional drivers from Precision Dynamics International, a producer of automotive experiential-marketing programs. That alone involves laying out more orange cones than it seems possible to count. As Mr. Kanickij and his Jack Morton cohorts, Dan Beilke, another project manager and tour manager Art Hanson, shuttle back and forth between the main staging area carrying boxes or maneuvering forklifts, Doc McKinney, head of the PDI team, slowly drives a car through the course. Via walkietalkie, he instructs his team to reconfigure cones in order to make the turns tighter or the turning circle, where consumers will test the cars turning radius, a tad smaller. PDI drivers will accompany consumers while they drive the course. Mr. McKinney, who has worked as a consultant and stunt driver in a Hollywood film and in TV commercials, has been doing these programs with Hyundai for the past six years and said he has

witnessed firsthand the impact these events have on consumers and the brand. When I first started working with Hyundai it was clear that consumers just thought of Hyundai as a throwaway car and one that they didnt give any serious consideration to, he said, while test driving the course. I have seen that perception change 180 degrees over the years. And, in my opinion, its things like this that are responsible for that. Consumers can drive these cars in a hassle-free environment and in conditions you wont get in a road test with a dealer. No one is in sales mode here forcing them to sign or buy anything. Of course, the idea isnt just to let consumers experience the cars but to evangelize about them, and Hyundai gives them plenty of ways to do that. After the test drives, they are encouraged to linger in a gleaming white lounge under a huge Hyundai-branded tent and listen to music, drink Starbucks frappuccinos and use iPads available to them-hopefully to spread the gospel about Hyundai. This place is wired to let consumers tell their friends about the experience, said Jaime Cabrera, creative director at Jack Morton and designer of the space. The iPads are loaded with Twitter and Facebook, and you can check in on Foursquare when you get here. We set this up so they will hang around, talk to us and other consumers about Hyundai, have a [frappuccino] and listen to music after they test drive the cars. They can also take a less private approach by entering a Sonata equipped with a video camera, where they can close the door and rave, complain, or, as Mr. Cabrera recalled, do what one excited attendee did on the tours last stop did and make up a song about the driving experience they just had. Under former marketing chief Joel Ewanick and his No. 2 Chris Perry, both of whom have decamped to General Motors, Hyundai gained steam in the auto world with clever advertising, a media strategy to buy big-event programming like the Super Bowl and a groundbreaking Buyers Assurance program that allowed consumers to return a new Hyundai if they lost their income. But Monique Morin Kumpis, Hyundais manager-experiential marketing and strategic alliances, said theres no substitute for getting behind the wheel. Ad campaigns tell a story but theres nothing there for a consumer to touch and feel, she said. The key is letting consumers draw their own conclusions but to do that they need to have the Hyundai experience. This is beyond tents and cones. With everything they can do here it becomes an experience and the more we can get them driving our cars and telling their friends about us, the better. Ms. Kumpis said she has seen consumers, at other tour stops, jump out of Sonatas and claim they were going to purchase one that very day. While that didnt happen on this day, at least not in the first few hours of the event, it was clear that the experience had significantly shifted the mindset of some of those in attendance. Jack Morton estimates that nearly 1,000 people attended the event over the weekend. The lines for the test drives were always full and most of those who drove the cars were eager to get on line for the video car and talk about the experience. Copies of their videos are sent to them and Hyundai also edits the videos for a reel it posts on its Facebook page.

(Some of the footage they are compiling from this tour will eventually be used in future commercials, but for now it is all being posted on Facebook. Similar footage used in prior TV spots came from a very small mall tour Hyundai did for Sonata earlier in the year.) One couple waiting on line to shoot a video said: Hyundai should do this course outside all their dealerships and they would sell a car every time. Mike, a 40-something Toyota owner who was also waiting to make a video about the experience, said he is in the market for a new car but hates dealerships and likes the low-key atmosphere of the Uncensored event. He said his 12-year-old Camry is in the shop every other week and that the test drive he just finished is forcing him to reconsider his longstanding allegiance to Toyota. After this and all the issues Toyota has had, I am seriously considering purchasing a Hyundai now. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 SONYS PSP USES SMART ALECK TO LAY THE HURT ON SMARTPHONES; Young Marcus Rivers is the face of a winning effort to attract 12-to-14-year-olds BYLINE: BETH SNYDER BULIK SECTION: NEWS; Pg. 0006 LENGTH: 690 words

Marcus dont play that. Thats Marcus Rivers, Sony PlayStations smack-talking front man for its handheld PSP device, referring to mobile-phone games. In online videos and TV ads, the teenage Marcus or another actor holds an iPhone up to the camera and then proceeds to blast app games. Marcus calls the Wastebasket game app, for example, ridiculous, adding, It shoulda been called wastin my three minutes cuz Ill never get that time back-or wastin my mamas hard-earned money. In another, he derides the game Hold It by saying, All you do is hold this button for as long as you can because thats your punishment for bein dumb enough to buy this game. And in another he bashes the phone itself with: That aint built for big-boy games. Thats built for texting your grandma and calling your girl. The tagline for the effort is Step Up Your Game, and thats just what Sony is hoping the marketing will do for PSP, a longstanding No. 2 in the traditional handheld gaming market to its main competitor, Nintendo DS. There have been more than 17 million PSPs and 43 million DS units sold to date, according to NPD Group. But even more pressing is the competition Sony and Nintendo both face from the mobile-phone market, particularly Apple. Last year, iPhone OS games grabbed a 19% share of total portable games software revenue, up from 5% in 2008-mostly at the expense of the traditional handhelds. PSP fell from a 20% to 11% share of software revenue, while DS dropped from 75% to 70%, as calculated by app analyst firm Flurry. In the mobile-phone space, the biggest competition is for time and money. Everyone needs a mobile phone (but) a game machine is a luxury. On top of that, the prices for mobile-phone games are very cheap; $9.99 would be a premium game. There is major competition for consumer time and money across all platforms, said David Cole, analyst DFC Intelligence. They need to be worried about any competing device for consumer time and money-phones, iPad, competing mobile devices, console systems etc. Sony is hoping Marcus fresh face and smart-aleck attitude will appeal to its revised target audience of 12-to-14-year-olds. Research last year showed Sony that its audience had gotten young quickly: from an average age of 28 when the PSP launched in 2005 down to the mid-teen ages by 2009, said John Koller, director-hardware marketing at Sony Computer Entertainment America. We saw the [new] prime target as 12-to-14-year-olds who are graduating from devices like the DS and even the Leapster, but before theyre getting into console gaming or carrying smartphones, he said. We really wanted someone aspirational for them. ? We came up with Marcus Rivers, a know-itall PSP gamer whos passionate about the brand and about why the PSP is better for gaming. I thought Sony made a mistake in not targeting that 12-to-14-year-old audience early on, said Mr. Cole. These are consumers looking for a mobile device, and in many cases they dont have mobile phones or have very restricted mobile phones. So, yes, it makes sense, (but) the question is, are they too late? So far, the ads are working, according to Mr. Koller, who noted that the rate of sales since the campaign begun in mid-June have climbed 20% higher each week. Planning for more Marcus ads is

already under way. Along with the new spokeskid, Sony is also trying to appeal to younger teens-and their parents who still hold the purse strings-with its June-announced PSP Favorites, a value-line of games at $9.99 each. There are currently about 25 titles in the collection, with classics and preteen-friendly titles such as Burnout Legends and Sims. The PSP campaign, created with PlayStation agency Deutsch, L.A., is a mostly TV media effort, but includes an online video component and some online advertising featuring Marcus. The media buy includes afternoon time slots and sports, and has been particularly successful on Viacom channels such as MTV and Nick at Nite. Those buys are a departure for traditional PSP TV, which had focused on late-night TV and prime time to target the mid-20s crowd. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 BRANDS WED LIKE TO SEE MORE OF SECTION: NEWS; Pg. 0002 LENGTH: 375 words

Its been years since consumers have seen much marketing from the lemon-lime brands. Likewise, venerable brands such as Fresca, Mug Root Beer and Tab have skirted most consumers radars for

awhile. Realistically, these brands wont be the recipients of major marketing funds anytime soonthough Mello Yello and Squirt are actually poised to receive some attention-but that cant stop us from hoping. FRESCA OWNER: Coca-Cola LAUNCHED: 1963 Originally a diet, grapefruit-flavored soda, it now comes in flavors ranging from black cherry to citrus lime to peach. The last marketing effort behind the brand was in 2005, when Fresca received a makeover, involving new packaging graphics. At the time, marketing from Campbell-Mithun positioned the brand as a uniquely sophisticated soft drink. MELLO YELLO OWNER: Coca-Cola LAUNCHED: 1979 The brand hasnt been advertised since the early 1990s, but in December, Mutt, Portland was brought on board. This summer new retro packaging began hitting shelves, and out-of-home, radio and digital ads are on tap. Distribution is also being expanded from the Midwest and Southeast to the Northwest and Northeast. MUG ROOT BEER OWNER: PepsiCo LAUNCHED: Early 1950s Marketing efforts focus on loyal users and require little investment. For example, last year, it sent branded Brew BBQ kits to bloggers in advance of Fathers Day. The brand ranks among the top 25 carbonated soft drinks, at number

21.
SQUIRT OWNER: Dr Pepper Snapple Group LAUNCHED: 1938 Distributed nationally, this grapefruit soda is actually preparing for a big marketing push, according to a spokeswoman. Launching before the end of the year, it will include radio and out-of-home on the West Coast, as well as a co-packaging partnership with Jose Cuervo. A packaging redesign is also planned. The brand ranks among the top 25 carbonated soft drinks, at number 25. TAB OWNER: Coca-Cola LAUNCHED: 1963 Though Tab was the companys first sugar-free cola, its decline began with the introduction of Diet Coke in 1982. Loyalists can still find Tab in select markets-one of our editors recently snagged one at a Stop & Shop in New Jersey-though there hasnt been any marketing behind the brand since the early 1990s. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010

Not-so-smooth talking: Obama mangles message; When it comes to economy, Ad Ages Marketer of the Year lacks communications prowess he had as candidate BYLINE: MATTHEW CREAMER SECTION: NEWS; Pg. 0003 LENGTH: 915 words

Back in June, the Obama administration declared that a summer of recovery was at hand, as some construction projects funded by the stimulus bill passed 19 months before finally got underway. He ended the summer on a darker note, in a prime-time address from the Oval Office that used some grim rhetoric to describe the state of the economy. Having-in properly sober fashion and sans flight suit-declared the war in Iraq over, Barack Obama indicated a shift to the economy as his central issue, referencing a time of great uncertainty, a long and painful recession, even suggesting a future of lasting peace and long-term prosperity may seem beyond our reach. As for how to regain that prosperity, he pointed out we need to end dependence on oil, increase exports, jumpstart innovation, and improve the education system. The American public, faced with negative indicators on the unemployment and housing fronts, not to mention the stock indices, needed a confidence-inspiring blueprint. Instead, from President Obama, it got a grim portrait of the economic landscape followed by a rote recitation of non-specific and familiar-sounding solutions that could have been delivered at any time in his presidency. Its a fact that Obama inherited the worst economy since the Great Depression and theres no quick or easy way out. But its stunning how hes struggled to articulate a clear path toward recovery and a sustainable future, especially when one considers the communications prowess he showed as a candidate. The administrations message on the most important issue to voters has gotten lost, smothered by lengthy, all-encompassing and rancorous policy pushes, such as health-care reform and the energy debate, that suck the oxygen out of the nations politics. And on top of that strategic choice to work an agenda in the administrations first year instead of focus, as President Bill Clinton did in his first year, on job creation, the Obama administration has found it difficult to explain what its done or where its going. When youre the president, people want to hear about the road ahead and where were going from here, said Don Baer, Burson-Marsteller Worldwide vice chairman and former White House communications director under President Clinton. They want to know: This is how we build a dynamic America thats built on growth and opportunity and jobs. Mr. Baer said the key to reassuring Americans about an economic future is being specific about initiatives-without being so specific that the administration opens itself to attack.

Obama committed that error of being overspecific when he promised the stimulus bill would keep the unemployment level around 8%. Today its at 9.5%. That was a strategic misstep, said Jay Cost, who until last week wrote the Horse Race blog for Real Clear Politics and is now headed to the Weekly Standard. On one hand, the administration has stumbled when it comes to highlighting the tangible accomplishments that have come out of stimulus spending. Can you identify a specific job or program that its created? A lead from a June New York Times story said it all: The shovels are finally ready. But is anyone paying attention? On the other hand, Obama has a hard time articulating a vision for recovery. Theres a pessimistic streak running through American economic thinking right now, with questions being asked not only about a double-dip recession, but also a Japan-style lost decade. Groundless optimism is going to be tough to demand of the American people. Jere Sullivan, vice chairman-global public affairs at PR firm Edelman, called the communications strategy so far a piecemeal approach and pointed to two initiatives announced in the past month or so that dont add up to much. An initiative designed to buoy the countrys manufacturing base, occasionally dubbed Making It in America, was followed by the announcement of a small-business push that hinges on a lending bill now stuck in a congressional gridlock. Looking at this as a voter, the parts dont add up to anything, said Mr. Sullivan. Hes not doing his equivalent of the Contract With America-giving us a six-point plan and saying this is what its going to take, and this is what its going to deliver us. Theres little doubt left this will take a toll on the Democrats in the midterm elections, with most observers assuming the party will lose the House of Representatives. In thinking about how Obama, whose approval rating has slipped to a low of 43%, might recover from this, Clintons first term comes up often. In 1994, Democrats lost Congress to a Republican Party that was surging on the Contract With America platform built on an opposition to government spending. Mr. Cost argues those midterm losses kept Clinton on his heels until he dug in on a Republican attempt to reduce the speed at which Medicare costs were rising. In 1996, having entrenched himself as the centrist he really was, Clinton won re-election handily. Clinton was able to do that because he was able to articulate a new vision of his presidency, said Mr. Cost. It meant something different in 1995 than it did in 1993. The White House is fortunate in that the writing is on the wall. Its obvious the Republicans are going to do well, and it gives the president time to mull over how were going to position ourselves in 2011 and 2012. And who, a few years ago, would have thought Obama would be lacking when it comes to expressing vision? Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010

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Advertising Age September 6, 2010 Plants vs. Zombies menace spreads through populace; PopCaps viral game continues to rack up downloads across platforms despite a marketing budget of $35,000 BYLINE: BETH SNYDER BULIK SECTION: NEWS; Pg. 0006 LENGTH: 653 words

Never underestimate the power of zombies. In this case, plants and zombies. Plants vs. Zombies, with its unusual combination of pea-shooting plants and not-too-scary cartoon zombies, has quickly become a huge hit for casual game publisher PopCap-and its about to go bigger. The quirky strategy challenge that began as a downloadable PC game will launch as an Xbox 360 retail game and Xbox Live Arcade downloadable game this month, and will be available for Nintendo DS early next year. PopCap, which also makes Bejeweled, said PvZ is the fastest-selling game in the companys history, with totals in the millions of units across all platforms. PopCap was mum on specific sales figures, but did disclose that when the PvZ iPhone app debuted in February, it sold 300,000 copies to rake in $1 million in just nine days, setting an App Store record at the time. Last week, the game was still No. 20 in the iPhone App Store. The iPad PvZ app was, and still is, featured on iPad demo units in all 300 of Apples retail stores, said PopCap VP-Marketing Ben Rotholtz.

Unique content, positive word-of-mouth and lavish media coverage of the game has been behind its success, but so has some creative marketing-creative in part out of necessity, because the initial marketing budget was only $35,000. This game was the ultimate gift a marketing department could get, Mr. Rotholtz said. Its an ultra-high quality game thats incredibly fun and has extreme levels of depth. ? My marketing department was smitten with the game. I couldnt get them to stop playing, or coming up with all kinds of ideas. But the feeling wasnt echoed throughout the company. In fact, PvZ was seen as a bit too different, a bit too odd; expectations were initially low, hence the small allocation for marketing. So began the budget marketing. PvZ launched with a site takeover of PopCap.com on April 1, 2009, which generated press about whether it was a joke or not, and continued with more online content, including videos, both of the game and an original spoofy Zombie temp office-worker series; a Zombatar that zombie-ized users profile pictures; and the posting of the Zombies on Your Lawn original song and video that is the payoff for winning the game. We had to convince George [Fan, the game creator] that it was a good move and not giving too much away, Mr. Rotholtz said. There have now been over 5 million views of Zombies on my Lawn. It was viral out of the gate. The first game bowed in May 2009, followed by retail PC and Mac versions in August that year, then the iPhone app in February and iPad app in April. But Mr. Rotholz said it only took 30 days from the initial launch for PopCap to see it had a hit, and to begin planning for other platforms. Many fans have helped the cause with spontaneous and enthusiastic promotion of the game. Actors Joel McHale and Oliver Plath appeared separately on Late Night with Jimmy Fallon within weeks of each other and both confessed addictions to PvZ on the iPad. A small cottage industry of homemade goods has sprung up on the internet from artists paintings, sculptures and plushies of the characters to hand-painted T-shirts and ceramic lawn ornaments. Fans have knit PvZ sweaters, created their own greeting cards and baked PvZ birthday cakes. Creative marketing, however, continues, with things like Zombie-handwritten invites to a party premiere in spring, and PvZ zombie breakdancers at the entrance to E3 this past June. (A booth was too expensive for the marketing budget.) PopCap has also branched out into traditional advertising, with ads for the Xbox games in magazines including Wired and PCWorld, and will do in-store retail marketing with channel partners. As for that initial $35,000? It was more than enough for launch. Mr. Rotholtz said he thinks his team only spent about $22,000, including the wine to toast its success. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH

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Advertising Age September 6, 2010 Check in before you check out that show; New loyalty apps proving to be a win-win for TV viewers and networks BYLINE: KUNUR PATEL SECTION: NEWS; Pg. 0004 LENGTH: 783 words

You can now check in to TV shows like you can to your corner bar. But whats a checkin worth to networks if they cant send viewers buy one, get one free happy-hour specials? The new breed of checkin apps aim to take the behavior made popular by Foursquare-in short, tapping a button to say, Im here-to entertainment properties like TV shows, movies and even books. Just like location apps, the list of checkin startups for content is already long: Miso, Philo, Starling and GetGlue have snagged deals with media companies as a means to cross-promote, build brands and reward loyal viewers. GetGlue, which reports 200,000 total checkins per day, will be launching a program with Fox where the network will promote new series to viewers of its existing shows. Viewers that checkin to the popular series Glee will get notices on its new comedy Raising Hope, while viewers of Bones will get an alert on the new drama Lone Star. When fans check in and unlock stickers (an incentive equivalent to Foursquares badge) for existing shows, they can earn an additional sticker for watching a trailer for a new series. These apps are also shaping into loyalty programs where networks can reward their super fans.

Checking in is a repetitive behavior that demonstrates continuity, said Alex Iskold, GetGlue founderCEO. I can like True Blood on Facebook, or I can check in to True Blood every Sunday night, religiously. It demonstrates Im a better fan that just someone who Likes. HBO has used GetGlue more than other services that its tested, including Tunerfish and Clicker.com. Its checkin programs, for shows such as Entourage and Hung, are primarily badge-based and focus on rewarding checkin behavior or watching at a certain time. Rewarding brand ambassadors is a key component of our social-media strategy and this is one way we do that, said Sabrina Caluori, HBO director-marketing and social media. Rewards can be as simple as holding somebody up in an exalted position or retweeting from the official True Blood Twitter handle. When a fan engages in behavior that helps us spread the word, we try to encourage that behavior. These content-specific apps are still too small for Kristin Frank, general manager for MTV and VH1 Digital. She says Twitter or Facebook, which recently acquired checkin-to-anything service Hot Potato, would make more sense for TV checkins because they have the level of users that better match the mass audiences of TV. The big question is who ends up being able to harness the mainstream, she said. I dont know if its realistic that people are going to go to separate products to do that. While MTV has launched a number of checkin programs with Foursquare, which reports 3 million users, the network has not yet experimented with the checkin apps specifically for TV. To date, MTVs programs have focused on extending content into the real world rather than keeping the checkin about whats on screen. A recently launched program for its Video Music Awards gives a Moonman badge to users that check in to music venues, along with a chance to win tickets to the show. Social media, in general, certainly has its marketing opportunities with the right messaging, Ms. Frank said, adding that MTV has decided to separate social-media outreach groups from marketing. The difference is that we create content and editorialize things. Its a further way to extend our programming reach. GetGlues Mr. Iskold also sees checkin apps as a window into the taste graph of entertainment. Think about the aggregate information on how people are consuming entertainment, he said. How many people are reading a book and seeing a certain movie? What are the patterns that can emerge when you look at fans of True Blood? Though, at this point, HBOs Ms. Caluori said she hasnt seen any GetGlue data thats new to her. One coming social media for TV app, Starling, is less concerned with the checkin altogether. Cofounders Kevin Slavin and Kenny Miller are betting that checkin apps will be more than just marketing devices. Out in October, Starling will concentrate on extending TV programming into social media. Trying to treat a TV event as if it were a Starbucks and giving badges for walking through the door is misunderstanding what a TV show is about, Mr. Miller said. That reasoning will also see networks advertisers extend into social media, too. There are interesting new opportunities to empower networks to find new ad dollars in this space, Mr. Miller added, though he declined to

provide any specifics. Not only are we innovating on the user experience, were also innovating adsupported models. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 Correction Appended Lemon-lime gets boost after years of neglect; Without marketing investment, No. 2 carbonatedbeverage category has lost market share, volume BYLINE: NATALIE ZMUDA SECTION: NEWS; Pg. 0002 LENGTH: 779 words

It turns out that if you slash marketing, you hurt sales. For years lemon-lime sodas have languished while cola line extensions and emerging categories such as energy drinks and enhanced waters took precedence. Now, Sierra Mist, 7Up and Sprite are all poised to benefit from an influx of marketing dollars as their owners rush to prop up the secondlargest carbonated-soft-drink category and target consumers who may be susceptible to a soda that at least seems lighter and healthier. Since 2005, marketing investment has dwindled for Sprite and Sierra Mist, the No. 1 and No. 2 sodas in the category, respectively. Each brand slashed measured media spending by about 80%. In 2009,

Coca-Colas Sprite spent just $8.6 million, while PepsiCos Sierra Mist spent $9.4 million, according to Kantar Media. That makes it a poor second cousin to cola: In 2009, brand Coke spent $234 million, while Pepsi received $136 million in measured media, according to Ad Ages 100 Leading National Advertisers report. And as spending declined, the lemon-lime category, which accounts for roughly 10% of the $74 billion carbonated soft-drink market, has gradually lost market share and volume. It shed 160 million cases between 2000 and 2009, according to Beverage Digest. Across the category, investment had declined significantly. Its a function of mirroring what competitors are doing and of everybody being faced with different priorities, said Kristina Mangelsdorf, VP-natural and flavored sodas at PepsiCo. But at the end of the day, lemon-lime is the second-largest [carbonated-soft-drink] category, and CSDs are the largest beverage category. When you look at it that way, why wouldnt you focus on lemon-lime? PepsiCo, along with competitors Coca-Cola and Dr Pepper Snapple Group, all seem to have come to that conclusion. In the coming weeks, both Sierra Mist and Dr Pepper Snapple Groups 7Up will introduce new formulas, graphics and advertising. And both brands say they are cramming a years worth of investment into the next few months. Sprite, meanwhile, launched its first new campaign in four years earlier this year. In the first half of 2010, Sprite spent $7.7 million on measured media, nearly matching what it spent for all of 2009. When youre doing line extensions, they take a lot of attention, bottler focus, shelf space, cooler space, and in most cases, they have not generated sustained growth. Its been boom, splat, said John Sicher, editor and publisher at Beverage Digest. The return to focus on core [carbonated soft drink] brands in North America is both smart and overdue. In addition to focusing on the lemon-lime category because of its size, executives point to other trends spurring investment. They say lighter, clearer sodas are perceived by some to be healthier, making it an opportune time to go after consumers who may have shied away from soft drinks for health reasons. And Ms. Mangelsdorf also pointed out that lemon-lime sodas are popular with the fastgrowing Hispanic population. PepsiCo is eliminating Sierra Mist in favor of Sierra Mist Natural, which is sweetened with sugar instead of high-fructose corn syrup. Diet Sierra Mist will continue to use HFCS. The move, which has been in the works for about 18 months, is two-fold. Research showed that brand loyalty in the lemonlime category is lower than it is in the cola category. And the natural food and beverage category is exploding. Theres not a strong reason to choose one [lemon-lime] brand over another. ? And when we asked consumers what would re-engage them in soda, natural was the No. 1 concept, Ms. Mangelsdorf said. The notion of a mainstream lemon-lime soda felt like a huge territory. Ms. Mangelsdorf expects the shift will make Sierra Mist extremely competitive with Sprite, adding that the brand should easily exceed its previous peak performance figures.(According to Beverage

Digest, Sprite is more than four times larger than Sierra Mist, with a 5.5% share in 2009 compared to Sierra Mists 1.3% share and 7Ups 1% share). Goodby, Silverstein & Partners created Sierra Mists new graphics, as well as the campaign, which breaks Sept. 20. It will include 15-and 30-second spots, as well as digital, radio, print and out-ofhome. Sprite and 7Up contain HFCS, though the former also markets Sprite Green which uses Truvia, a natural sweetener. 7Up, too, is increasing its investment. Jonathan Rogers, brand manager for 7Up, said in the last four months of this year, the brand will be spending what it would normally spend in a full year. According to Kantar Media, 7Up spent about $25 million on measured media in 2009. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH CORRECTION-DATE: September 13, 2010

CORRECTION: RE: Lemon-Lime Gets Boost After Years of Neglect (AA, Sept. 6). Diet Sierra Mist will continue to use a blend of aspartame and Ace-K, not HFCS. PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 RECYCLED FIBER A BURIED TREASURE FOR MARCAL; Senior VP-marketing spurs growth for paper-products brand using green roots

BYLINE: JACK NEFF SECTION: NEWS; Pg. 0018 LENGTH: 1311 words

Marcal was perhaps the greenest brand nobody had heard of for its first 50-plus years of life. Then the New Jersey-based maker of value-priced tissue products went bankrupt and was purchased by Highland Capital Management in 2008. MJ Jolda, a veteran of Philip Morris, Reckitt Benckiser and Pinnacle Foods, joined the company from Nestls Gerber in 2009, part of the team brought in to turn around the brand and the business. And the senior VP-marketing, who reports to CEO Shawn Lederman, found some buried treasure in the 100% recycled fiber Marcal uses to make its products. The company had gone bankrupt and was now privately held, she said. We were looking [at], where do we take the brand? I knew they had some green background and heritage, but unless you knew the brand and had looked at the packaging, you couldnt really discern that. With sales of less than $500 million, Marcal is dwarfed by such multibillion-dollar behemoths as Procter & Gamble Co., Kimberly-Clark Corp. and Koch Industries Georgia-Pacific Corp. But its the heavyweight in the 100% recycled toilet paper and paper-towel segment, where the competition comes from Seventh Generation, private-label products from Trader Joes and Walmart, and other regional players. Ms. Jolda discovered that most consumers would like to buy greener tissue, but they dont want to pay more for it, and they often had little idea that Marcal was 100% recycled. So, 100 days into her job, she had a plan in place to relaunch the brand as Marcal Small Steps, still value-priced but with new yellow-and-green packaging, along with $30 million in annual TV, print, coupon and other marketing support, the likes of which the company had never seen before. There wasnt as much of a focus on marketing and branding at the company prior to our coming in, she said. There was very little marketing spending. There was not really a unified approach in how they went to market, the result, she said, of prior management being focused on turning out volume for value. Marcal now works with a host of agencies including DIY Partners, New York; Consumer Dynamics, New York, which works on marketing strategy; Topspin Group, Princeton, N.J., for consumer promotion; Zunda Group, Norwalk, Conn.; Schupp Co., St. Louis, for media; 360 Public Relations, Boston, for PR; and eCity Interactive, Philadelphia, for digital. A year after its Earth Day 2009 relaunch, Marcal sales were up 15% and retail distribution climbed from around 40% to around 50% of the market, Ms. Jolda said. In an interview with Ad Age, Ms. Jolda explained why light-green consumers-those who consider the environmental impact important, but give as much or more weight to other factors such as price and performance-and an appeal to value, along with environmental concern, are making a difference for Marcal.

What steps did you take to reposition the brand? We did a lot of research, but we had to do it very quickly. Within my first 100 days here we aggressively talked with consumers, announced a plan to relaunch and then took the plan to the national sales meeting. First was understanding the consumer insights on the business. From there we had some very specific insight, which was that consumers in general want to do good and help the environment but they simply dont know how. The brands heritage was green and had been since the 1950s. Its probably one of the oldest green brands out there. Weve since taken the Marcal Small Steps brand and relaunched the entire portfolio. Instead of a value positioning, its now green without compromise. Were not premium. Were giving you good value at a good price, which really derived from some of the consumer insights we gleaned. Consumers told us everyone should be doing the right thing. They were pushing back and saying that all brands should be green. If green is so good, brands that are doing harm to the environment should be costing us more and green brands less. Every consumer should, for the health of the environment, be driving a Prius. But its too expensive. They cant afford it. You didnt go after the dark-green consumers. Why? Dark-green consumers [those who try to always buy based on environmental or sustainability factors] are about 15% to 20% of the population. The majority of consumers are light green, about 60%. And then the browns [those who dont prioritize sustainability in purchases] are the rest. How did you implement the strategy? We introduced it to the market on Earth Day 2009. Weve highlighted the performance aspect with the new packaging. Weve introduced a full marketing plan behind the brand. We have advertising, media, public-relations support. We had a marketing plan. We had retailer tie-ins. And were just now getting into social media, which is something we think we can leverage going forward. How? Were just getting our toes in the water. Were tweeting. Were out on Facebook. We dont really have a lot of results yet to talk strongly about. I do feel thats something we can get a lot of these passionate consumers to begin to talk to us [about]. There are a lot of people who feel passionately about cutting down trees. Greenpeace and KimberlyClark finally have called a truce, but theyre after the consumer brands to change their ways. Its an awfully tough business to be in as a small player, isnt it? It is. One of the messages weve been trying to get through in the media is that 98% of the industry makes its paper by cutting down trees and are really only still made from recycled paper. For most people, what bath tissue is made of is clearly not top of mind. So were trying to raise awareness that you are cutting down trees each and every time you choose to use one of our competitors.

This year, we put an environmental facts panel on the packaging to call out that were 100% recycled. Some of our competitors have come out with 40% recycled product. And 100% is always better than 40%. We call out that we dont use any trees. We dont use any chlorine bleach or dyes. How will the FTCs updated Green Guide definitions affect Marcal and green marketing generally? Im hoping the net effects will be standardization and transparency. They are intertwined and vital if there is to be a healthy next phase of environmental consumerism, and why we recently took the step of placing an environmental facts panel on every pack. How do you measure ROI? With everything in marketing, you always have to go in and defend what you spend. So, yes, we look at our syndicated data where we have it. Because were also in home improvement and office, where we dont have data, we have to use industry reports or factory data that our suppliers give us. We use attitudinal research in some cases because thats how we can best measure it. But we have to measure it, because at the end of the day we need to defend the money Im asking for and we also want to be efficient in how we spend. Ultimately do you think the bigger brands will take notice and get into this segment? Im not sure all the brands are interested longer term in jumping into the fray. Obviously, were not going to be nave and say they couldnt. What keeps you up at night? Honestly, I think about the environment, and it sickens me what were doing in the Gulf. But for me its that we as a society are still cutting down trees for something we dont need to. 5 TIPS 1.Develop your first 100-day plan and stick to it. 2.Understand your competition and consumer; develop insights that give you a competitive advantage. 3.Align with your CEO and senior leadership team on vision and strategy for driving the business. Dismantle silos that keep you apart. 4.Continually test different tactics to reach your target consumer to see what moves the needle. 5.Think about how your brand affects the environment from cradle to grave. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010

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Advertising Age September 6, 2010 WHY GEN X WONT SAVE US BYLINE: MATT CARMICHAEL SECTION: NEWS; Pg. 0023 LENGTH: 544 words

For the past few decades, baby boomers have driven the economic growth in the U.S. And there are a lot of them, in case you didnt know. Current Census data put the number of boomers at just under 80 million, or a touch over one-third of all adults. However, theyre now moving into the older cohort, and those folks dont spend nearly as much. In 1999 the boomers were between the ages of 35 and 54. Their generation accounted for 42% of households, 53% of all pretax income and just over half of all spending in the U.S.-$2 trillion. In 2008, the boomers have moved into the 45-to-64 age range. They still account for 44% of total spending and 46% of income. The boomers, despite their superior numbers, are shifting into the 65-and-over age group ,which typically accounts for just 14% of spending, as their mortgages get paid off, their children move out and their expenses decrease. While this age group generally spends money on big-ticket items like second homes, with the recession hitting their 401Ks as they were about to retire, many are forgoing those expenses and continuing to work. That further hoses the Gen Xers because so many cant move up into the higher-paying jobs.

Tammy Erickson, author of a recent book on Gen Xers, Whats next Gen X, says, [Gen X] really have gotten the short end of the stick from a monetary standpoint. Right now at the recession, the bulk of Gen X is in both their peak income and peak spending years of life. Your peak income is being limited at a time when youd want to be maximizing it. And your peak spending is occurring at the time when youre least likely to have a lot of discretionary income. Generation X, meanwhile, accounts for just 22% of total spending (4% less than the comparable half of boomers did in 1999). Even if you include the older segment of Generation Y (age 25-34), you still only total 38% of spending. Why is that a problem? The problem is that these two age groups, even when combined, have 2.4 million fewer households than the boomers did. At a time when the economy needs them to step up and spend us out of the recession, they simply lack the horsepower to do so. The 2009 unemployment rate will factor in as well. The two age groups with the highest unemployment rates are 25-to-34 at 9.9% (those coming out of college from 25 to 29 are at 10.6%) and 35 to 44 at 7.9%. So the age group that should be coming into their earning prime is instead out of work at a very high rate. Lets look at it another way. In 1998, the 25-to- 44 (Gen X and late boomers) segment outearned the 45-to-64 segment (boomers and pre-boomers) by $426 billion. If we look at those same age ranges in 2008-now Gen Xers and older millennials vs. the boomers, the boomers are pulling in $535 billion more than their younger counterparts. So the boomers are still driving the growth. Is there a silver lining in there? Anywhere? Yes. With all the talk about how big the boomer generation is, and how the millennials are hard to figure out, we often forget that the millennials actually outnumber the boomers. For the next several years, well have fewer households in the peak spending years, but eventually the millennials-all 85 million of them-will flow in. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 Green-car marketers revving up in race for eco-friendly drivers; From independents to big automakers, heres a look at how seven key companies are driving home their marketing message to consumers BYLINE: RUPAL PAREKH SECTION: NEWS; Pg. 0010 LENGTH: 1438 words

Car advertising is about to take a turn-for the green. Come this fall, drivers-and not just Americans, but global drivers-are about to feel the onslaught of a new crop of eco-friendly auto brands, some independent and some backed by the big carmakers. Heres what you need to know about whos in the marketing seat at seven of these companies and how theyre positioning themselves to consumers.

BMW MEGACITY British-born Ian Robertson has served as sales and marketing head for BMW Group since 2008, a role he took on after a stint as chairman-CEO of Rolls Royce Motor Cars. Hes also a onetime managing director of Land Rover Vehicles. GSD&M Idea City, Austin, Texas BMW wants its all-electric Beemer to be known for being the only one made using carbon (it uses what it calls a CFRP, carbon fibre-reinforced plastic), making it lighter than conventional cars and other electric vehicles. Its also emphasizing sustainability not just in the car, but throughout its supply chain as well. While formal advertising for this car is still down the road-BMW isnt bringing its Megacity to market till 2013-the carmaker is already building buzz around its commitment to bringing a zeroemission car into urban markets. Its been testing prototype electric cars, randomly choosing consumers to drive all-electric Mini Coopers and soon a BMW Series 1 car, and asking them to report back findings. As the official automotive sponsor for the London Olympics 2012, there is speculation that BMW will use that as a stage to formally launch the Megacity.

No dedicated Facebook pages or Twitter feeds for the Megacity, and so far any social-media discussion appears on the BMW Group Facebook page, which has more than 18,000 fans.

CHEVY VOLT Joel Ewanick, the most-talked-about person in auto ad circles these days. A longtime car guy, he was brought in at General Motors in May-after a super-short stint at Nissan, and a few high-profile years at Hyundai. Goodby Silverstein & Partners, San Francisco and Detroit A car first and electric second, in the words of Mr. Ewanick. The Volt will try to show consumers that it is durable and reliable-able to go 40 miles exclusively on battery before a gas generator can take over for 300 more miles until the battery needs another charge. A 30-second teaser ad began running in select markets in July that was completely silent, showing a car driving along the highway with this text: Listen. Thats the sound of the status quo crumbling. Breathtaking, isnt it? When a full campaign bows this fall, it will likely play up Volts gas generator, thereby subtly attacking Leaf and other pure electric vehicles by portraying them as cause for anxiety among consumers. Facebook: Volt has nearly 40,000 fans; its Twitter page @ChevyVolt has nearly 5,000 followers. GM also created a microsite called Chevy Voltage that calls itself the official social network of the Volt, housing a blog, videos and photos.

CODA Mike Jackson, a well-known marketer whos held positions at Coca-Cola, PepsiCo and Coors Brewing, and made his mark in the auto world between 2000 and 2007 at GM North America. Pereira & ODell, San Francisco Ease. The Santa Monica, Calif.-based firms marketing strategy will lean heavily on e-commerce. Pre-sales have begun on its website for the CODA sedan, a four-door, five-passenger battery-electric vehicle that is expected to range 120 miles per charge. The first models will be delivered in California later this year. Some audacious outdoor work-billboards that mimic tombstones set up at gas-station pumps-have already been in the marketplace from a prior agency, Goodness Manufacturing, Los Angeles, and digital executions are likely to begin this month from Pereira & ODell. An e-Commerce site is launching soon, and outreach will be a combination of digital, PR and events. Coda has a blog called Clearing the Air and a YouTube channel with several explanatory videos. The

@CodaAutomotive feed on Twitter has about a 1,000 followers. It appears to still be working on an official Facebook page.

FISKER AUTOMOTIVE Marti Eulberg is global VP-sales and marketing at Fisker. She was recruited to the post last year after serving as president-CEO of Maserati North America for a year, and before that was exec VP-sales and marketing at Jaguar North America. Lambesis, Carlsbad, Calif. Luxury. Fisker wants to be seen as the premium plug-in hybrid. Its Karma model was designed by Henrik Fisker, who has rendered models for BMW and Aston Martin. A base model of the Karma costs $87,900, and a top-of-the-line version has upholstery made of bamboo rather than leather. Its campaign Pure Driving Passion recently began via a website that shows highly-stylized images of the Karma by fashion photographer Miles Aldridge. A campaign from Lambesis will likely have more of a fashion layout than car-ad feel to it since Lambesis works mostly with clothing and jewelry brands such as Bebe and Tacori. Irvine, Calif.-based Fisker has more than 2,000 Twitter followers but doesnt seem to use the feed frequently. An official Facebook page has more than 1,000 fans, and a dedicated blog has been set up by an enthusiast unaffiliated with the company.

NISSAN LEAF Jon Brancheau was named VP-marketing of Nissan in the wake of Joel Ewanicks abrupt defection to General Motors. Before that, Mr. Brancheau was director-global Infiniti marketing communications and media. TBWA/Chiat/Day, Los Angeles Completely green and affordable. The car is estimated to retail for $25,280 after tax credits, compared with Volts pricing of $33,500. It is solely electric and runs on battery. With plans to be on the road this December, the Leaf has been early to marketing. It had a push around the Olympics in Vancouver, and has chosen seven-time Tour de France-winning cyclist Lance Armstrong as its official spokesman. Hes been featured in one spot that emphasizes the car as Innovation for the planet; innovation for all. The Leaf recently broke its first automotive iAd on Apples fourth-generation iPhone. New advertising for Nissan across multiple vehicles is slated to break this month, and new Leaf commercials will be one feature. The Nissan Leaf has more than 72,000 fans on Facebook and over 5,000 followers on Twitter at

@NissanLeaf. Its website offers live chat with experts.

TESLA MOTORS The company hasnt named a head marketer, but founder Elon Musk is one of the most high-profile execs in the green auto world, and former YouTube executive Ricardo Reyes handles global communications for the company. No agency Sports Car. The Tesla Roadster-which has sold in at least 28 countries-at an estimated $100,000, is said to accelerate from 0 to 60 in less than four seconds but produces no emission. Owners can call upon a service ranger to make a house call for any repairs. Tesla Roadster has sold some 1,200 cars with little in the way of traditional advertising, striking partnerships with brands such as Tag Heuer, for which it created a custom Tag car and appearances at car races and even on The Price is Right, on which it was a prize. More traditional advertising will likely come soon, since the Palo Alto, Calif.-based company went public this summer and Teslas Model S, its four-door sedan, is expected to be released in early 2012. Has more than 12,000 followers on Twitter at @TeslaMotors, and nearly 20,000 fans on Facebook for the Roadster.

THINK Michael Lock, the former CEO of Ducati North America, joined as CMO of Think this month. Hes also held senior marketing roles at Honda Motor Europe and Triumph Motorcycles. Experience. Think describes the brand as a leader in electric-vehicle technology backed by nearly 20 years of research, and Scandinavian roots that have given it a sustainability mindset. The carmaker says its the first of its kind to win pan-European regulatory safety approval. Events and partnerships have been a strategy in Europe, where CEO Richard Canny has held public speeches on Earth Day. Think also partnered with the BBC to create a documentary about the first electric drive around Europe called BBC Electric Drive. The Oslo, Norway-based company is building its first U.S. factory in Indiana to manufacture the Think City and will start coming off the assembly line in 2011. Because it wants to sell the first U.S. shipments to car-sharing firms and for corporate use, business-to-business marketing is likely to be a play for Think in the coming months. Has a blog called Think is Thinking (www.thinkisthinking.com), a Facebook page with nearly 600 fans and a Twitter page, @think_ev, with more than 1,600 followers. Copyright 2010 Crain Communications Inc. All Rights Reserved.

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Advertising Age September 6, 2010 Holding cos. clean house, consolidate agencies to gain efficiency, scale; Improved business outlook creates ideal time to evaluate portfolios; more to come BYLINE: RUPAL PAREKH SECTION: NEWS; Pg. 0003 LENGTH: 754 words

This summer, agency holding companies kept busy with a bit of housekeeping. Omnicom Group, WPP, Interpublic Group of Cos. and MDC Partners in the past few months have all streamlined the number of individual shops and agency offices sitting under the same umbrellasweeping underperforming entities under their stronger siblings and combining agencies to create scale and expand geographic footprint. And its not over: CEOs of those companies and observers say theres more to come this year. Why now? If its not clear its a platform you want to have, its a good time to decide to eliminate that property, said one analyst who covers the space and did not wish to be named. He noted that because business is rebounding, the timing might be linked to holding companies re-evaluating what the right number of operating units are and the [what the right amount of] scale is to serve large clients. WPP and Interpublic declined to comment, and Omnicom could not be reached. But a number of

senior industry executives suggested to Ad Age the timing of such moves is linked at least partly to the economy. As the industry climbs out of last years deep recession-and tries to avoid slipping into a double dip (see related story, P. 1)-agencies have seen the benefits of being more efficient. After years of sagging performance from its Agency.com brand, Omnicom in July finally announced it was collapsing the Chicago office of the digital agency into E-Graphics Worldwide, TBWAs global production services arm. Its understood that Agency.com outposts globally will fall into the TBWA network down the road. Also this summer, the worlds largest holding company, WPP, merged two of its health-care ventures, CommonHealth and Ogilvy Healthworld. That created what Ad Ages DataCenter ranks as the worlds third-largest health-care agency network, giving CommonHealth, which has a strong domestic presence, access to Ogilvy Healthworlds sprawling footprint in 33 countries. Interpublic Group of Cos. appears increasingly active in this area. In the span of two weeks in August, California-based Dailey & Associates was aligned with DraftFCB in a bid to strengthen the single-office agency by giving it access to customer-relationship marketing leader and large global network Draft. Around the same time, Campbell-Mithun, Minneapolis, announced it would absorb the 50-person local office of digital agency MRM-a decision Campbell-Mithun CEO Steve Wehrenberg said was driven by a comfort level with MRM from working on shared accounts over the years. Uniting agencies under the same holding company is generally less thorny than other adland mergers, typically sparking few client conflicts and many more synergies. Case in point: the WPP move. Since both of those health agencies service Novartis, Pfizer and GlaxoSmithKline, it made for a smoother process. By far, the agency umbrella group leading the streamlining trend is Toronto-based MDC Partners. In July, MDCs premiere agency brand, Crispin Porter & Bogusky, absorbed sibling agency Zig, a wellknown Canadian-shop, and rebranded it CPB Canada. The same month, Kirshenbaum Bond Senecal & Partners, on the heels of gobbling up Atlanta-based sibling Fletcher-Martin, absorbed multicultural shop Adrenalina. Asked about the moves, MDC CEO Miles Nadal said, It is definitely accelerating. The changing media landscape means a lot of firms are looking for assistance in social media, investment in technology and pure scale, Mr. Nadal said. Clients are looking to consolidate the number of partners they do business with, and you need to have the resources and scale. Mr. Nadal denied that MDCs combining agencies was linked to a potential sale of the holding company down the road, but pointed out that MDC this year has built what it calls as a shared services group to identify more of these opportunities within its portfolio. Said Mr. Nadal: Theres a lot of brilliantly talented firms that are great at what they do but could benefit from bigger platforms and, on the flip side, the bigger firms benefit from more depth of talent and more bench strength.

Youll see our biggest platforms expand geographically and in their offerings. Theres more to come, and the reason why is that its proven that people can have their cake and eat it, too; they can have their entreprenurial DNA but the resources of a bigger organization. Were working on three or four more [deals] that I think are going to be really exciting. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 Publicis is falling short on ad pact with Msoft; Failing to meet spending promises made as part of deal to acquire Razorfish BYLINE: KUNUR PATEL SECTION: NEWS; Pg. 0001 LENGTH: 724 words

Publicis Groupe is having trouble meeting its media-spending commitment to Microsoft, according to several people familiar with the situation. The third-largest agency-holding company entered into the commercial agreement last summer when it bought digital agency Razorfish from Microsoft. Execs put the commitment at a couple hundred million dollars annually for ad inventory. Publicis, parent to media agencies Starcom Mediavest Group and Zenith Optimedia, could face a penalty if it fails this year to meet the spending levels committed to Microsoft search and display.

Such a penalty would ostensibly up the cash commitment on the Razorfish sale, though its yet unclear if Microsoft will opt to levy such a hefty fee on one of its biggest customers, especially when Microsoft was tasked with providing quality inventory on its end of the deal. Publicis acquired Razorfish for $286.8 million in cash, totaling $544 million, including stock. According to one executive close to negotiations, Morgan Stanley, the bank representing Microsoft in its sale of Razorfish, asked for media commitments equal to or greater than the cash component. The Publicis-Microsoft deal is just one example of how the upfront model native to TV buying has started to port over to digital. But it also raises several questions: Does the model of guaranteeing client dollars in lump sums work in digital media, where ad spending is still ruled by quarter-toquarter and comparatively tiny budgets? Add in looming penalties, and are clients best interests in jeopardy? Executives familiar with holding-company-level media spending estimate $140 million would be easy for Publicis to spend on display and search spending with Microsoft. But sums north of $200 million would be a struggle. In one anecdote, relayed by someone familiar with the relationship, an agency buyer for Publicis Vivaki recently scrambled to spend last-minute dollars with Microsoft anywhere thats a decent fit because the team was short of its commitment. Even if it is struggling to meet that goal, Publicis is said to be spending significantly more with Microsoft year-over-year. We are very pleased with the current state of our relationship with Publicis, said Carolyn Everson, head of Microsofts global advertising sales, in a statement. Our teams are working well together. We are confident that the fruit this relationship is beginning to bear today will continue through the end of the year and well into the future. As far as were concerned, its full steam ahead. Our partnership with Microsoft has allowed us to deliver such benefits to clients as advantageous pricing and first-mover opportunities to participate in new content and inventory, said a Vivaki spokeswoman in a statement. In a quick analysis, Publicis clients do not dominate ComScores list of top Microsoft display advertisers in the second quarter. Microsofts online advertising revenue increased 8% year-overyear to $1.9 billion for the year ending in June, reflecting higher search and display-advertising revenue. One recent deal that could help Publicis reach its goals with Microsoft is Starcom Mediavest Groups just-inked four-year $100 million deal with the production company BermanBraun, which holds MSN properties in its portfolio. Berman is responsible for two MSN properties, Wonderwall and Glo, and plans for an MSNBC political site are also underway. While the Microsoft tie-in likely sweetened the deal, Mediavest and Berman are said to have a longstanding relationship that predated the commitment.

The so-called Strategic Alliance Agreement between Publicis and Microsoft was set in play at the Cannes Advertising Festival in 2009, just weeks before Publicis Groupe announced it would acquire Razorfish. Microsoft bought the agency as part of aQuantive, which it acquired in 2007 for $5.9 billion. The commercial agreement was then introduced at the Razorfish acquisition. In a presentation to investors, Publicis Groupe CEO Maurice Levy announced that Publicis agreed to aggregate volume purchases in Microsoft search and display in exchange for favorable rates as part of the five-year agreement. In turn, Microsoft agreed to continue its agency relationship with Razorfish for a minimum guaranteed fee for the duration of the agreement. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age September 6, 2010 PEOPLE ON THE MOVE SECTION: NEWS; Pg. 0017 LENGTH: 599 words

Scottrade has promoted Kim Wells to chief marketing officer. Ms. Wells most recently served as Scottrades director-branding and website marketing. She led the firms rebranding effort last

November, which included the new Get Invested tagline and Dont Go TV campaign. Ms. Wells has more than 22 years of business development and marketing experience, including more than 10 years of leading online marketing strategies in the financial-services industry. Monica Ray has been named exec VP-consumer marketing at Cond Nast, starting Sept. 20. Ms. Ray joins Cond from Time Inc., where she led the companys paid-content strategy as senior VPcorporate digital development. She joined Time Inc. in 1992 and held a number of senior positions within the company. Prior to her most recent role, she was VP-general manager for Entertainment Weekly and EW.com. Heineken USA has promoted Kheri Holland Tillman to VP-trade marketing and sales strategy and Colin Westcott-Pitt to VP-marketing for Dos Equis, Newcastle and Amstel Light. Ms. Tillman joined the beer importer in 2007 as VP for the Amstel Light and Dos Equis brands. Since then, she added the Newcastle Brown Ale brand to her portfolio management. In her new role, she will focus on delivering a brand-centric view of the Heineken USA portfolio through integrated commercial strategy and consumer-insight based planning. Mr. Westcott-Pitt, who is taking over Ms. Tillmans previous responsibilities, joined Heineken USA in 2009 as brand director of Newcastle Brown Ale. He has spent much of his career in the adult-beverage industry in a range of marketing positions in the U.K. and U.S. Neil Cleary has joined Allen & Gerritsen as VP-director, audience intelligence and brand-planning group. Most recently, Mr. Cleary held the position of VP-planning director at Leo Burnett, Chicago, overseeing brand and positioning development for Hallmark. Prior to Hallmark he spent three years developing brand and positioning for Samsung Electronics global and U.S. business. He also worked on McDonalds kids and tween initiatives, Raytheons Math Moves U initiative and ConAgra. Barkley has hired Don McKinney as chief idea officer. Before coming to the independent agency, Mr. McKinney worked as executive creative director and director of digital development at Grey, New York. Throughout his career, he has guided creative and digital work on brands including Adidas, PlayStation, Cadillac, T-Mobile, Infiniti and Pontiac. He was also responsible for work on Nissan, including writing the global tagline Shift. Additionally, Mr. McKinney led the launch of digital departments at ChiatDay and Publicis. Mars Advertising has added Lorrie Boone and Nick Stoyanoff to its Southfield, Mich. team. Ms. Boone, the new director-strategic planning, comes to the shopper-marketing firm from Powerpact, where she served as a strategic planner on accounts such as IKEA, Capital One, The Weather Channel, General Mills and Sony. Mr. Stoyanoff, who has been appointed senior VP-communications planning, was previously at AOL Advertising, where he led a team of digital strategists from four AOL offices and worked with such clients as Campbells, Purina, Target, GM and Ford. Tara Gregson has joined Mashantucket Pequot Gaming Enterprises as VP-brand strategy for Foxwoods Resort Casino and MGM Grand at Foxwoods. Ms. Gregson brings almost 15 years of marketing experience to her new role. Most recently, she served as assistant VP-marketing and communications for M&T Bank, headquartered in Buffalo, N.Y. Copyright 2010 Crain Communications Inc. All Rights Reserved.

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Advertising Age September 6, 2010 We cant move forward if cautious marketers stand in way of innovation BYLINE: RANCE CRAIN SECTION: NEWS; Pg. 0015 LENGTH: 675 words

Is the marketing function standing in the way of innovation? The marketing mantra has always been to give the customer what he or she wants, but that approach pretty much precludes giving consumers things they dont know they want or havent thought of. And are marketers sometimes held captive by their customers-proclaiming they dont want an improvement or new technology because it would be too disruptive to their normal behavior? In other words, marketers can read their business correctly-assessing what customers want or dontand still miss. In a study of the disc-drive industry that applies to all marketers, Clayton Christensen wrote in his book The Innovators Dilemma that the established firms were aggressive, innovative and customersensitive in their approaches to sustaining innovations of every sort. But they couldnt keep it up. Finding new applications and markets for these new products seem to be a capability that each of these firms exhibited once, upon entry, and then apparently lost. It was as if

the leading firms were held captive by their customers, enabling attacking entrant firms to topple the incumbent industry leaders each time a disruptive technology emerged. The fundamental problem, as Alan Murray wrote in The Wall Street Journal, is that the modern corporation might have outlived its usefulness. He says the best corporate managers have become, in a sense, enemies of the corporation. The reasons for this are clear enough. Corporations are bureaucrats and managers are bureaucrats. Their fundamental tendency is toward self-perpetuation. They are, almost by definition, resistant to change. They were designed and tasked, not with reinforcing market forces, but with supplanting and even resisting the market. So what do we have? Two immoveable objects-the big corporation and the even bigger U.S. government, both loaded with bureaucratic caution and inertia-trying to cope with the biggest recession since the Great Depression. Not a very good combination to get things going again. I exchanged emails recently with an agency exec on how the recovery was proceeding. He told me that the big brands have maintained most of their revenue, driven costs down significantly and are sitting on decent profits. They are spending needed marketing dollars to keep sales up and prices strong. But in the last few months they have grown more cautious about future investments. It is cool to be cautious again. Every CEO sees a cloudy couple of years with at least some downside risks. There are no jobs being created. Most of the stimulus dollars went to protect public-sector jobs or to pave or repave roads. Consumers are still leaning toward pulling back where they can. And business leaders are increasingly down on the Obama Administration and the Democratic agenda (increase taxes, increase the size of government, drive up health-care costs, tons of health-care confusion, race to write lots of regulations that really slow small businesses down, cater to the unions and demonize top earners and big businesses). CEOs feel it is imprudent to hire and launch big investments right now. So the big corporations are holding back because of confusion and uncertainty, and the federal government is intent on getting bigger and more bureaucratic. Consumers, caught in the middle, are keeping their wallets and purses snapped shut, and thats probably not going to change anytime soon. As I said the other week, export markets are starting to look pretty good to U.S. corporations. And the nice thing is, the future in developing countries has already been invented. Marketers can gauge consumer reaction to products not even envisioned by third-world consumers but used as staples by U.S. consumers. So the U.S. would serve as one gigantic test market for where the real sales potential is: in Asia and Africa. If corporations need to be reinvented, then so does marketing. As Mr. Murray said, change, innovation, adaptability all have to become orders of the day. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010

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Advertising Age September 6, 2010 Drama! Intrigue! Celebrity! What you should know about the fall TV season; Ad Age flips through the networks biggest issues, shakeups and challenges BYLINE: BRIAN STEINBERG SECTION: NEWS; Pg. 0004 LENGTH: 1134 words

Get ready for a barrage of promotions for new fall TV programs. But whats going on behind the scenes might be just as worth watching. Though it may still seem like summer, the CW is set this week to launch seasons of 90210 and start programs such as Hellcats. NBC is preparing to open what it hopes will be a new chapter with buzzed-about programs including The Event and Undercovers. CBS is about to roll out some of the most-anticipated programs of the season, including a revamp of Hawaii Five-0 and a saucily-titled sitcom called $#*! My Dad Says. Fox has its eye on a Dallas-style oil-and-con-man drama called Lone Star. Underneath all the hoopla, however, stand any number of intriguing challenges the TV networks must face, some together, some on their own. What are they? Below, Ad Age tells you what to watch out for as the 2010-2011 TV season gets out of the starting blocks. Will Foxs American Idol continue as TVs powerhouse show? Yes-for now. The show is still successful, but it is aging, and lingering questions over the lineup of judges for next season arent helping the network make its case. You can still expect Idol to bring in

the masses, but the show has lost some steam. Fox clearly wants to keep stoking its fires until it can determine how successful departed host Simon Cowells X Factor will be in the fall of 2011-and perhaps beyond. Will CWs experiment with mixing online views and TV ratings gain traction? Its entirely possible. The network has begun offering advertisers packages of ad inventory across TV airings and online streams of its programs. As more fans choose to watch favorite programs in a nontraditional fashion, it has become clear to many in the industry that relying on good old Nielsen ratings-regular or commercial-doesnt always show the full range of whos watching shows such as Gossip Girl or Life Unexpected. Advertiser interest in the CWs combined package was tremendously received during the upfront, said Rob Tuck, exec VP-network sales at the CW, and the network has continued to have the same success in the fourth-quarter scatter marketplace. Now the bigger question: If advertisers want more of this from the CW, will they seek it from other outlets? Is social media doing anything for TV? Were not sure. There have been some intriguing experiments in the past year, including Foxs effort to run an on-screen feed of Twitter commentary during episodes of Glee and Fringe, and NBCs recent incorporation of tweets during its broadcast of the Emmy awards. Our take is that TV appears to be doing more for Twitter, Facebook and other social-media venues than they are doing for TV programs, all hype about social buzz generating higher ratings for TV shows aside. People love to chat about their favorite shows, but they may not love seeing that same chat across the bottom of the screen while watching those same comedies and dramas. Likewise, what sounds funny on Twitter or in an update may fall flat when being jammed into a live awards-show broadcast. Do TV viewers still have a yen for complex enigma shows that require them to watch every episode with rigorous attention? NBC will find out sooner than most. The network, still in the midst of trying to right its ratings woes, is launching a one-hour drama called The Event that its executives believe will attract those audiences that once flocked to now-canceled serials like ABCs Lost and Foxs 24. In an era where most folks seem to prefer good ol hour-long procedural dramas that wrap their plotlines within 40odd minutes (the rest of the time is for commercials), NBCs gamble is an intriguing one. If youre curious: One episode for The Event features a riveting image of a lone pilot in a small plane about to make a beeline for the president of the United States as he tries to hunker down in his official car. How will changes affect CBSs CSI franchise? This trio of programs remains a reliable performer for CBS, but the network has moved two of the shows-CSI: Miami and CSI: New York-to new nights. Starting in the fall, Miami moves to Sundays from Mondays while New York moves to Fridays from Wednesdays. Meanwhile, CSI, still a top

program with enviable ratings, is getting on in years. A risk? CBS executives have said theyre using CSIs popularity to shore up other nights. Do we like to watch TV on Fridays? For many years, Friday has been the night on which networks positioned underperforming programs or a place to stick shows networks believed were on their last legs. Why? Well, everybody was working for the weekend, so they werent at home watching TV when it finally came around. These days, many of us feel lucky if we can afford a flat-screen TV and a cable hookup. And were staying home to watch those things on which we spent so much money. With that in mind, many big networks are loading up Friday with higher-quality fare, whether thats a cop drama starring Tom Selleck (CBSs Blue Bloods), a legal drama featuring Jimmy Smits (NBCs Outlaw) or a new legal show sporting Dana Delany as a neurosurgeon-turned-medical examiner (ABCs Body of Proof). Even the CW is getting in on the game by ending its practice of showing repeats of Americas Next Top Model on Friday nights. Fox may be bucking the trend: Human Target and Good Guys, slated to turn up on that network on Fridays, are less-buzzy affairs. How stable is ABCs fall schedule? By replacing former ABC Entertainment chief Stephen McPherson in July, just weeks after selling its new fall schedule to advertisers, ABC is signaling that everything is up for grabs. Mr. McPhersons replacement, Paul Lee, hails from ABC Family, where he built a stable of buzzy programs aimed at the young-teen niche, i.e. The Secret Life of the American Teenager and Kyle XY. What this could mean for new ABC fare such as comedy Mr. Sunshine or cop show Detroit 1-8-7 is anyones guess. Mr. Lee will likely be looking for ways to bolster ABCs aging hits, Desperate Housewives and Greys Anatomy, and to broaden the appeal of critical favorite Modern Family. What changes will Comcast put into place once it finalizes its purchase of a majority stake of NBC Universal? This deal, long in coming, is still slated to take place sometime around the end of 2010. Once combined, the new company will add cable channels such as E! and Vs. to its stable, and be able to draw on Comcasts vast reach and emerging couch-potato technology (video-on-demand, possible interactive promotions) and use its TV networks to influence new TV-watching behavior. Will Comcast be happy with the performance of broadcast-network NBC? And will the new owners want to tinker with NBC Universals management or operations? Well likely get the answers to those questions sometime in 2011. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age September 6, 2010 A REPRISE FOR JINGLES ON MADISON AVENUE BYLINE: ANDREW HAMPP SECTION: NEWS; Pg. 0001 LENGTH: 1079 words

The death of the jingle has been greatly exaggerated. But for awhile, it was understandable if you needed to check its pulse. In the 2000s, the trend of licensing pop songs from the 60s, 70s and 80s in lieu of creating an original 30-second branded melody picked up a lot of momentum. From Led Zeppelin and Lou Reed to Bob Dylan and Paul McCartney, no major artist was above lending his music to sell cars, watches, lingerie or coffee. Meanwhile, a whole crop of indie bands relied on the likes of Apple, Converse and Bud Light to help launch singles and create new revenue streams in lieu of dwindling album sales. But today? Marketers want original music for their messages. Thats one reason brands and ad agencies are rediscovering, and in many cases relaunching, the art of the jingle-from State Farms recent Nintendo-fied 8-bit remake of its classic Like a good neighbor, State Farm is there to Experians quest to find a new band to sing its Free Credit Score song to McDonalds oft-updated takes on its Im Lovin It tagline. Its also why original pop songs that double as ads are on the rise, whether its Converse pairing hiphop up-and-comer Kid Cudi with members of indie-rock bands Vampire Weekend and Best Coast for an original single,Summertime; online-dating site Zoosk recruiting rappers Flo Rida and T-Pain for the fully branded Zoosk Girl; or Gatorade tapping hip-hop producer David Banner to pen the

rockabilly tune for its current Revolution campaign. And Tommy Hilfiger is about to launch Loud, its first major fragrance campaign in years, with an original song by British dance-pop band the Ting Tings written specifically for the ad. In fact, music was the only production category that saw an increase in budget last year, according to a 2010 study from the 4As; the Association of Music Producers (AMP) reported 78% of its members income came from original music vs. 22% from licensed music and arrangements in a spring 2010 survey. It seems like the cycle is ebbing slightly, and it may be less popular to align yourself with a major superstar, said Elizabeth Myers, president of AMP and cofounder of Trivers Myers Music. She suggests it could be a reflection of the economic mood-original music feels more simple and real. And, she said, in America, the clients like to own that identity that comes with original music. Jack Livesey, cofounder of bicoastal music house Duotone, agrees that original music conveys more honesty. Whether consciously or not, to viewers [licensing music] feels a little manipulative, like youre just kind of renting something to wow me, he said. A growing number of advertisers are reinvesting in and reinventing their own jingles for a new generation. Jason Peterson, executive creative director for Interpublics Translation, which has worked with McDonalds and State Farm, said brands are starting to realize the invaluable equity that comes with a recognizable jingle. Taking something new and inherent to their brand, which has a deep sort of meaning, and making it relevant and interesting and bringing that into popular culture is a big task in itself, he said. But to many agency execs, such as McCanns Mike Boris, senior VP-executive music producer, it doesnt matter whether the music is written specifically for the campaign or if its an existing song that hasnt received national exposure-as long as its a good creative fit, artists will lend their music and occasionally their likeness to an ad campaign. Years ago it was selling out-now we call it selling in, Mr. Boris said. The pitch? A major spot can get you the kind of play national radio doesnt anymore. Beginning in 2008, major ad agencies and brands have been going to greater lengths to associate themselves with original music and artist development. Havas Euro RSCG acquired indie music label The:Hours in a bid to establish credible relationships between brands and artists. Also that year, PepsiCos Mtn Dew formed Green Label Sound, an imprint that released new songs from indie bands such as Matt & Kim and The Cool Kids. More recently, Interpublic Group of Cos. McCann Erickson formed an in-house record label, StayU Music, on behalf of Holiday Inn. The labels first single, You Always Make Me Smile by up-andcoming singer-songwriter Kyle Andrews, is featured in Holiday Inns new global campaign and is available on iTunes and YouTube. And TBWA/Chiat/Day is organizing new-music showcases this month in markets such as Los

Angeles to get buzz bands in front of creative directors and clients. It also comes down to economics. Licensing songs from lesser-known or new bands can range from $10,000 to $75,000, depending on whether the ad airs only on TV or online, while the price tag for better-known artists comes in at $200,000 to $300,000. Then there are mega-artists like Led Zeppelin, Madonna and the Rolling Stones, who often cost upward of $1 million for one song. Of course, more direct relationships between agencies, brands and artists means less opportunities for the dedicated jingle houses and music-production companies to book traditional ad gigs, so many of them are diversifying their resumes. In addition to recording songs for spots for marketers including Palm, Pacifico Beer and HewlettPackard, Black Iris, an indie-music house based in the Silver Lake neighborhood of Los Angeles, recently completed the score for a video game and also has a fledgling singles label that just signed a distribution deal to release 7-inch vinyl records and digital downloads with Sonys RED Music. Similarly, Duotone has been adding original scores for indie films (New York, I Love You) and cable TV shows (AMCs Rubicon, Historys Swamp People) to its client list next to original jingles for Revlon, Martini & Rossi, Maxwell House International and Verizon Wireless, the latter of which famously repurposed the Big Red jingle this spring to promote its own red-colored 3G coverage. The line between commercial content and art continues to blur. Alexandre Sap, CEO of Euros The:Hours, said the turning point for him was when Peter Gabriel asked to cover Lou Reeds The Power of the Heart, a song the onetime Velvet Underground frontman wrote for Cartiers Love Collection. Its all about quality. Its about the fight between music-production companies making music just for advertising or having clients come into the record company with the right connections, he said. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: September 9, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 WHAT TO DO WHEN BEDBUGS BITE BRAND REPUTATIONS; Recent cases of insect infestation present new PR challenges for unlucky companies BYLINE: THOMAS PARDEE SECTION: NEWS; Pg. 0004 LENGTH: 859 words

As notoriously difficult as bedbugs are to remove from your bed or closet, the resilient critters may be even trickier to shake from your companys reputation. A recent rash of bedbug infestations at New York City retail stores, movie theaters and offices (including ad agencies) has left some companies in an awkward PR challenge: convince creeped-out consumers theres no reason to bug, despite the unpleasant realities of infestation. Easier said than done. A report from the citys Bedbug Advisory Board flagged a 240% rise in complaints against landlords for cases of bedbug infestation on rented property from 2006-2009, and the Wall Street Journal recently reported a 2,000% increase in overall complaints. Though the BAC says bedbug infestation in public places is still mostly unmeasured, experts assert theres likely been an even sharper increase in that segment. [Even] within the past two or three weeks, [bedbug infestations in New York City have] truly reached epidemic proportions, said Glenn Waldorf, director of Bell Environmental Services, Inc., famous in the tri-state area for its mascot, Roscoe the Bed Bug Dog. This is evidenced by almost daily media stories decrying bedbug alerts in public places such as Abercrombie & Fitch, Victorias Secret and AMC Theatres-and also in the offices of prominent media companies such as Time Warner, Hachette Filipacchis Elle and even Euro RSCG and Saatchi & Saatchi in the West Village. Though bedbugs can travel virtually anywhere on clothes and in luggage, their famous resilience in the face of pesticides makes them hard to exterminate from the nooks and crannies of dark clothing racks and desk drawers. Plus, they multiply very quickly; two bugs can become up to 120 in just 30 days, Mr. Waldorf said. Eric Edge, global chief communications officer for Euro RSCG, said when a company is faced with the reality of infestation, speedy honesty is the only successful policy. In todays age of social media, if you try to cover anything up, or spin or sugarcoat the situation, the public is going to see through it, Mr. Edge said. His agency closed the office down on a Friday in July to allow exterminators to treat the whole building over the weekend, and alerted all employees and the public about exactly what

was happening, despite the big, bad bedbug stigma. With the exponential rise in infestations, avoiding an occurrence in places such as stores is next to impossible, said Jeffrey White, a research entomologist at BedBugCentral.com, a website containing information, news advisories and links to bedbug resources. Its difficult for companies to be proactive because you dont know when a bug will be carried in. Its really not feasible to be treating an entire movie theater every two weeks. Many companies emphasize the steps they took during bedbug outbreaks when the spotlight turns their way. Ryan Noonan, AMC Theatre social-media manager, released a statement to New York City blog Gothamist explaining the companys response to cases of bedbug infestation in two of its New York cinemas. At AMC Empire 25 [we] detected bed bugs on two of the 4,700 seats inside the theatre. Those seats were immediately removed and treated that day, Mr. Noonan wrote. Mr. Edge says this variety of ugly truth-telling is effective, but could be more so with a dose of education. While tweeting what youre doing to fix a problem, you could tweet facts, Mr. Edge said. That way youre showing youre educated about this problem and youre working to fix it. The bedbug outbreak hasnt been bad news for everyone. It prompted Terminix and other exterminators to purchase Google search advertising against bedbug-related phrases, and it has even created a vacuum for new services. Douglas Stern, managing partner of New Jersey-based Stern Environmental Group, started a new arm of his extermination business six months ago in response to the growing number of infestations; he calls it bed-bug-prep concierge service, aimed at helping large-scale clients prepare infested furniture, large objects and spaces for extermination. He says hes worked with a number of clients whose high-profile infestations have made the news lately, and even more that havent. Theres much more than you think, Mr. Stern said. Just because [companies] havent been in the news, doesnt mean they dont have a problem. Mr. Waldorf, too, says the recent rash of infestations have been good for business, and notes that his clients pay for both his services and discretion. Theres a stigma, but there shouldnt be, he said. It happens everywhere. The stigma should come from companies that do not take proactive action to deal with a situation. Experts dont see the rise in infestations slowing-Mr. White says retailers may be forced to adopt new return and shipping policies to address the issue. Still, Mr. Edge says that with the right approach, companies can keep their itchy hands clean. Consumers have short attention spans, he said. It may take a while, but if [companies] share their information, theres no reason the consumer wont move past it as well. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH

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Advertising Age August 23, 2010 INVESTMENT IN POLITICAL CAMPAIGNS CAN DAMAGE BRANDS SECTION: NEWS; Pg. 0014 LENGTH: 413 words

Companies are going to learn quickly that just because they now have the right to directly donate money to political causes, it doesnt mean they should necessarily do it. And if they do, they should be prepared for the repercussions. Target Corp. has been raked over the coals in recent weeks after it donated money to Minnesota Forward, a political action committee that supports Minnesota Republican gubernatorial candidate Tom Emmer. It shouldnt come as a surprise that a major corporation is going to donate money to the party or candidate that is more likely to be pro-business. But Emmer is also an opponent of gay marriage and gay rights. But Targets problem is partly one of its own successful reputation with the LGBT community. The retailer has a successful reputation with the LGBT community. It has received a rating of 100% on Human Rights Campaigns Corporate Equality Index and Best Places to Work survey. Its even sponsored the Twin Cities Gay Pride Festival. In other words, its always been seen as sort of a progressive alternative to, say, Walmart. So this donation, even if it was smart for its shareholders, was seen as a betrayal by its own employees and some of its most passionate consumers. At the same time, News Corp. has donated $1 million to the Republican Governors Association.

Thats resulted in the expected kicking and screaming from media watchdogs and the Democratic Party (which, not surprisingly, hasnt raised a peep when other companies have lined its coffers). But News Corp.s core consumers arent crying foul. Fair and balanced claims to the contrary, News Corp.s constituency clearly leans right. No one expects Fox News viewers or New York Post readers to rush out into the streets to boycott a donation to the Republicans. And getting roundly thrashed by the East Coast media establishment only reinforces the beliefs of many News Corp. consumers. In the long term, Target may not be hurt by this. And it, much like News Corp.s Rupert Murdoch, will likely continue to donate to whatever party is better for its business. In almost all of these cases, the money spent is meant as a business investment, not a political statement. But marketers have to acknowledge that such investments carry some risk, because consumersespecially if youre lucky enough to have passionate ones-arent going to see it as anything other than political. And that might be bad for business. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 What happens when Facebook trumps your brand site?; Like it or not, trend serves as another telling sign of social medias growing dominance BYLINE: JACK NEFF SECTION: NEWS; Pg. 0002

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While the tech world obsessed about when Facebook would turn on location and morph into a Foursquare killer, the social network has quietly become something else: the biggest relationshipmarketing provider for many brands. For many marketers, their Facebook fan bases have become their largest web presence, outstripping brand sites or email programs either because a brands traditional web-based owned media is atrophying or because more consumers are migrating to social media. Coca-Cola, with its 10.7 million Facebook fans, has three to four times the Facebook fan base as MyTown and Foursquare have registered users. (In fact, there are at least 11 brands whose Facebook fan pages have quietly grown bigger than the biggest geo-location providers.) That certainly trumps U.S. unique visitors to Cokes brand website, which fell by more than 40% to 242,000 in July compared to a year ago, per Compete. Kraft Foods Oreo is the No. 3 brand page on Facebook as tracked by DBM/Scan, with an 8.7 million fan base growing at a clip of 71,000 a day. But the multi-brand site where its web presence has been hosted, NabiscoWorld.com, has seen U.S. traffic decline from 1.2 million in July 2009 to 321,000 last month. While fan pages may work a lot like a marketers traditional owned media, theyre not actually owned by the marketers. Facebook hosts the pages and provides analytics for free, but growing marketer dependency on the network for CRM programs, combined with simultaneous declines in traffic for many of their own brand websites, could give Facebook a valuable revenue opportunity. Clearly much of the audience migration from brand sites to Facebook pages is by marketer design. Increasingly tags on TV and print ads that used to direct people to brand websites now direct them to Facebook fan pages, noted Daniel Cummings, business development director for DBM/Scan, a firm that tracks relationship marketing programs for packaged goods, quick-serve restaurants, pharmaceutical marketers and retailers. DBM/Scan thinks of Facebook as a big-list broker like Experian, Mr. Cummings said, albeit with big differences, such as being freefor now. DBM/Scan tracks 560 such branded Facebook fan pages created since April 2008. Pampers has seen its Facebook fan count shoot north of 327,000 in recent months. But Pampers.com has lost even more people in terms of traffic, much of it driven by its e-mail programs. The sites unique monthly U.S. visitor count was 560,000 last month, down almost half from the 1.1 million a year ago, according to Compete.com. The decline of web traffic isnt universal for marketers with big Facebook fan followings. The current reigning champ of branded Facebook pages, Starbucks, has seen fairly steady web traffic over the past year per Compete even as it built its Facebook presence to 12.7 million fans. But like other

retailers or fast feeders that have maintained web traffic amid growth in Facebook fandom, Starbucks.com also has substantial e-commerce traffic. Similarly Walgreens, while building a Facebook fan base of more than 500,000, has seen no dropoff in traffic, which hit 6.7 million in July, according to Compete. Within Facebook, Walgreens is finding what works best are fairly frequent short updates, often ones that involve posing a question that prompts a response, said Rich Lesperance, director-online marketing for the retailer. Facebook is now telling marketers such as Procter & Gamble Co. to focus on status updates rather than other applications that can be harder to get adopted or track, said Michael Stich, group directorstrategic planning for WPPs digital and relationship marketing agency Bridge Worldwide, which works with P&G. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 Halo reaches out with biggest campaign yet; With teasers, live-action spots, web films and a Pepsi partnership, can Microsoft top franchises past success? BYLINE: KUNUR PATEL SECTION: NEWS; Pg. 0004 LENGTH: 763 words

Three-hundred million dollars in first-week sales, two Cannes Grand Prix and advertising that took the form of a traveling museum exhibit. Thats what Microsofts Xbox got for its last marketing blowout for the Halo video-game franchise. With the latest installment out in September, how in the extraterrestrial world is it going to beat that? After teaser shots, the marketing for Halo: Reach, the fourth release in the franchise, will ramp up this week. It will be the biggest game campaign from Microsoft in the marketers history, said Michael Stout, global product manager for Xbox. There will also be a robot. Xbox is launching a website today through which users can manipulate a real-life robot in an undisclosed San Francisco warehouse to build a monument out of lasers for this games protagonist Noble Team. Independent digital agency AKQA handled the interactive component, while Interpublics AgencyTwoFifteen handled strategy and video. Both agencies were involved with the previous Halo 3 campaign, which swept 2008 ad awards shows, including two top prizes at the Cannes Adverting Festival. Were not looking at it as trying to top what weve done, said Scott Duchon, executive creative director-partner of AgencyTwoFifteen. But were trying to find a new way to find success for Halo. How do you market the story before Master Chief? We approach it as a particular story that needs to be told, not the franchise. Thats why its a different approach altogether. Its going to be quite a task for this latest Halo release to get any bigger. Its a top 20 video-game franchise, according to the NPD Group, and to get higher in the ranks, the nine-year-old franchise will have to best titles such as Mario Bros., LEGO, Madden and Grand Theft Auto. Microsoft has sold more than 34 million Halo games since it debuted in 2001. Franchise games and merchandise brought in nearly $2 billion worldwide. And while Halo 3 grossed $170 million in firstday sales in 2007, setting a record at the time, last years Call of Duty: Modern Warfare 2 is the record to beat with $310 million in firstday sales. To try to attract new entertainment audiences, Xbox is looking to pull at the heartstrings. You dont have to know anything before going into it, said Taylor Smith, director of global marketing communications for Xbox. Were trying to tell the story in broad strokes and universal themes that people know all around the world. And get our core fans even doubly excited. To that end, spots and web films will feature live action as the Halo 3 Believe effort did, rather than the game footage so often found in gaming ads. These videos will be seen through high-profile digital distribution and big in broadcast media, Mr. Smith said. Were trying to get people to connect back to their lives, not computer graphics or something overly sci-fi, he said. Live action is a way to capture that.

Partnerships are also a ploy to reach new audiences. Xbox is again partnering with PepsiCo, this time for its biggest brand integration to date. Starting in September, 300 million Mtn Dew bottles and 30 million bags of Doritos will feature Halo packaging and under-the-caps sweepstakes. Xbox will also roll out a highly integrated promotion with the Ultimate Fighting Championship. As a gaming franchise we have the luxury that people want to come to us, Mr. Taylor said. But we also need to be out there in pop culture: Thats how Pepsi fits in and broadcast fits in. Halo: Reach also got the big-marketing treatment much earlier in the games life cycle than is usually the case. A teaser spot unveiled in the spring, Birth of the Spartan, was meant to drive more trials during the games beta phase, where gamers are invited to provide feedback on game play. Knowing that trial drives purchase intent, we went out earlier in the cycle with the intention of driving volume to test the beta before the game even came out, said Xboxs Mr. Stout. Things look good so far-the beta attracted 2.7 million players, more than any other title on the console before. Xbox declined to disclose budgets for Reach, but we know the campaign at the very least beats the Halo 3 effort, which came in at $6.5 million in 2007 paid media, according to Kantar Media. Microsoft spent $12 million in media for its video-game division in 2009, according to Ad Age Data Center. And this campaign may not be the final one. Reach is the last title from Halos longtime developer, Bungie, but, said Mr. Stout, I think its safe to say were not done with Halo. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010

TRYING OUT SHOPKICK BYLINE: NATALIE ZMUDA SECTION: NEWS; Pg. 0006 LENGTH: 606 words

Our reporter checks out the deals and collects Kickbucks at American Eagle At 10:30 one morning last week I found myself dodging tourists around the corner from American Eagles Times Square flagship. Shopkick, the location-based loyalty app, had gathered a small group of journalists and partners for a demo of the product that is now rolling out in hundreds of stores around the country. We were each given an iPhone 4 and instructed to open the Shopkick app before following cofounder and CEO Cyriac Roeding and his team around the corner and into the store. After taking a few steps inside American Eagle, the phone picked up the inaudible signal emitted from a discreet white box near the ceiling. A green bubble then popped onto the screen announcing I had just earned 75 Kickbucks, Shopkicks proprietary currency. I was also shown various deals, like a 15%-off coupon and a buy-one-get-one-half-off jean and T-shirt sale. Deals served up by Shopkick are redeemed at the register by showing the cashier a code. For some shoppers, just walking in and securing the deals will be enough. But for those who decide to play the game, Kickbucks can also be earned by scanning barcodes on products or posters around the store. In the case of American Eagle, we were provided a rack full of leggings to scan for 25 Kickbucks. We were then herded into a dressing room where a poster featuring a barcode could be scanned for 35 Kickbucks. Kickbucks can be donated to charity or redeemed for Facebook credits, DVDs or gift cards. And, sure to resonate with millennials, they can be used at any of Shopkicks partners, which include American Eagle, Macys, Sports Authority, Best Buy and Simon Malls. By the end of the 15-minute demo, I had wracked up 140 Kickbucks and clicking on a Rewards page showed me that I could redeem 25 Kickbucks for one Facebook credit or donate 13 Kickbucks to fight breast cancer. I was woefully short of the 4,400 Kickbucks needed to get a Twilight DVD. But within reach was a $2 Best Buy gift card for 500 Kickbucks. The technology is cool and its easy to see why its appealing to retailers. Shopkick gets paid using a performance-based model. And set-up costs are minimal, with the boxes costing less than $100 each, according to Mr. Roeding. The boxes need only a power source, no internet connection or WiFi required. Michael Dupuis, VP-marketing and operations for American Eagles direct business, said Shopkick is now deployed in 52 stores and will be chainwide in a little over a year. The program is considered a

marketing expense, he said. According to Mr. Roeding, retailers have between a 20% and 95% conversion rate (the number of shoppers who actually buy) depending on their category. Apparel retailers are closer to 20%, while a grocery store is closer to 95%. So, the theory goes that any offers retailers can serve up in the store can boost that conversion rate. Likewise, retailers know that shoppers are more likely to make a purchase once theyve entered a dressing room, so why not dangle an incentive, in the form of Kickbucks, to get them to try something on? All in all, its intriguing. But is it the future of shopping? Maybe, maybe not, but Shopkick sure thinks so. And judging by the flood of loyalty apps coming on the market (see story, left ), its only a matter of time before serious competitors emerge. Shopkick, however, does enjoy first-mover status, as well as the backing of major retailers and the largest mall operator in the country. That, Mr. Roeding says, should help his company to stay at the front of the pack. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 WE ARE FAMILY-AND MORE OF US ARE LIVING UNDER ONE ROOF; Explosion in multigenerational households has wide implications for ad industry overall BYLINE: BETH SNYDER BULIK SECTION: NEWS; Pg. 0001

LENGTH: 1635 words

Jenny Rowland moved back into her parents home for six months after college while she searched for a job. When Peter Radsliffs 90-year-old dad leaves physical-therapy rehab in the next few weeks, hell return to his daughters house, where he has been living with her and her children. And Rosemary Lichtman and her husband built their California home with a first-floor in-law quarters just in case. It was indeed needed when her aging parents moved from St. Louis to live with them and their teenage sons. They are all part of the accelerating trend of multigenerational households. Today 49 million Americans-more than one in six people in the U.S.-live in households with three or more generations, according to the Pew Research Center. The percentage is even higher for age groups 25-to-34 and 65 and older, where one in five, or 20%, live in these extended families. Moreover, while the number of multigen households has been growing since 1980, the pace is quickening. Pew data shows that between 2000 and 2009, the number of those households advanced 33%. As such, the trend could have big implications for marketers virtually across the board in categories from housing to autos, insurance to package goods, necessitating a rethinking of everything from product sizes to how to reach these households and what members within them to market to. Theres so much opportunity here that marketers are overlooking, said Ms. Rowland, who no longer lives at home and is VP-account planning at Trone, Highpoint, N.C. While high unemployment and housing foreclosures of the recession have played a key role in the trend, Pew Research Center exec VP and co-author of its multigenerational household study Paul Taylor said it has been growing over several decades, fueled by demographic and cultural shifts such as the rising number of immigrants and the rising average age of young-adult marriages. One of the things that struck me about this change is that its coming from all directions. More young adults moving back home, more elderly moving in with middle-age children and more middle-aged children moving with their elderly parents, he said. WHOS MAKING THE DECISIONS? Amy Goyer, AARP multigenerational issues expert, said the most common multigenerational household is one with a grandparent as head of household and his adult children having moved in with their children, an arrangement usually spurred by the needs of one or both to combine resources and save money. The second most popular is a grandparent moving in with an adult childs family, usually for caregiving reasons. She noted that 2.5 million grandparents say they are responsible for the basic needs of the grandchild living with them - so it might be Nana, for example, buying those diapers. The ultimate decision-maker in the multigen house depends on factors including economics (that is, who controls the money), health and independence-especially for the older generations, and family

dynamics. The influence of the various household members depends on a lot of history-what was the relationship like before? Collaborative and cooperative, or was one person more assertive and aggressive? Often, whoever pays the bills has a bigger voice, but if youre interested in keeping the peace, things should be discussed by the group, said Phyllis Goldberg, who along with Ms. Lichtman is a family-relationship expert. Real-estate firm Coldwell Banker sees this in action. Diann Patton, Coldwells consumer specialist said, We see it in our office. Several generations all packing into the car and going out looking at homes together. Theyre making the decision as a family, and thats especially true if theyre pooling finances. Coldwell Banker has noted the multigen trend nationwide and in fact, queried its agents in a survey of more than 2,300 of them. Some 37% said they noticed that more families were looking for houses that could accommodate multiple generations. The top reasons cited were financial (39%) and health-care issues (29%), but a strong family bond was next (6%). Mike Fischer, Coldwell Banker Real Estates chief marketing officer, said while the study was national, local marketing is really the key. He and his team work on educating agents and giving them tools to package homes for multigen households. That includes changing descriptions of properties to appeal to potential buyers-a fifth bedroom, for instance, could be described as in-law quarters with a separate bath-and creating specialized tours of homes to help multigen buyers envision their brood there. While real estate and home building may be obvious industries affected by the rise of multigen households, there are examples and opportunities in many other industries, such as toys, technology, travel, entertainment, automakers and financial-service companies. Nintendo, for example, set out with a deliberate strategy with its DS handheld and Wii console to push across-the-ages and particularly to grandparents with games such as Brain Age and Wii bowling. And Toys R Us has given out 20% off coupons to grandparents, acknowledging the statistic that grandparents buy one in four toys, four of every 10 childrens books, and one of every five video games. Disney crafts everything from movies such as the Toy Story trilogy to theme-park experiences to cruise-line travel with a deliberate product and marketing strategy to appealing to all generations of a family. But most multigenerational efforts are still gaining footing. General-trend statistics are being discussed and examined, but product creation and marketing strategy still being defined. OPPORTUNITIES AT HAND Ameriprise Financials advisers see the trend on an anecdotal level, said Suzanna de Baca, VP-client acquisition and field engagement. Right now we dont address consumers in media or outside marketing overtly, but a good deal of our adviser training addresses multigenerational issues, she said. The company knows, for instance, that 60% of women serve as caregivers to other family members or

friends, which may mean leaving a job or reducing hours. Ameriprise advisers are trained to not only recognize the situation but to help those women be financially realistic about what caregiving means and how they need to adjust their plans. Ms. de Baca said she thinks other financial changes will be wrought by multigenerational households. Anybody whos had an elderly parent move in because of long-term care needs will go out and buy long-term care [insurance] for themselves because theyve seen what happens. Technology is another area ripe for innovation and solutions for not only the multigenerational household, but also the close knit multigenerational families who may not live together but are helping each other daily, said Peter Radsliff, CEO of Presto as well as chairman of the Aging Technology Alliance, and as mentioned above, part of a multigen family. His company, Presto, worked with Hewlett-Packard to create the Presto Printing Mailbox printer that can receive e-mails and photos and print them with the click of one button. The product enables older people who dont use computers to be able to get emails and photos from usually younger family members who do. Presto recently added the ability to send photos directly from Facebook. Trones Ms. Rowland knows from experience what impact even a short stay at home can have on all generations. When she left college and lived at home for a time, she adopted her mothers recipes and brand preferences. And while she watched Band of Brothers with her dad, she convinced both parents to watch her choice, Sex and the City. Her mothers viewing preference for CBS Sunday Morning in fact, sparked a habit that continues 10 years later. She believes there are business and creative opportunities when tuning into generations under one roof. Creative executions could, for example, use humor to diffuse what can sometimes be a stigma of having to live in a multigenerational household, while also including the multigenerational faces families see in their own households. She noted that while TV shows such as Modern Family and Parenthood appeal to multigenerational households with their similarities, few of the TV ads that run during those shows reflect those situations. On the product side, financial marketers could create products that would help these families manage budgets and shared expenses and food companies could market healthy family-style meals that appeal across ages. And it could be a way to tap the baby-boomer generations wealth, which is at about $25 billion or about 80% of the nations personal wealth, according to the Grandparent Marketing Group. This demographic is often undertargeted and pigeonholed as unwilling to switch brands, but they love to spend on their grandkids, shelling out about $50 billion on them annually. Those kids, also known as millennials, are surprising similar to their grandparents demographic -both about 80 million strong, they grew up in tremendously prosperous times that ended abruptly. While families living under the same roof usually have a financial incentive to do so, they also tend to have more discretionary income than single seniors or recent college graduates who are paying their own rent and expenses. Toy, book, travel, and car industries all could be targeting both groups, said Robert DiLallo, director of the New York office of the Grandparent Marketing Group.

This really is more of a return to normal, he said. Think about the 20s and 30s, when it was very normal for parents to live in their adult childrens homes and for grown children to stay in the family home. ? Young adults moving out of the home [right after school] was really created by the babyboomer generation. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 How social media is helping the public-relations sector not just survive, but thrive BYLINE: MICHAEL BUSH SECTION: NEWS; Pg. 0001 LENGTH: 944 words

In 2009 Katie OBrien was looking for an agency partner to help her launch a major digital effort. The global digital marketing manager at Ben & Jerrys issued a brief to a traditional digital shop and a traditional PR agency, Edelman. The plans they brought back were, in Ms. OBriens own words, night and day. In fact, she said the biggest difference was that one understood social media better than the other-and it wasnt the digital agency. The digital shop didnt try to understand what we were trying to accomplish with the campaign, said Ms. OBrien. What Edelman brought back was extremely

strategic, it told a story and took into consideration all of the different spaces-earned, owned, paid and social. It hit on everything. I felt like they got our voice and maybe because their roots are in PR it was never just about buying banner ads with Edelman. Like every other marketing sector, the PR industry took a beating in 2009. But unlike the last major downturn in the PR business, which was brought on by the dot-com bust and 9/11, the industry is experiencing a much quicker rebound this time around-and a good part of the credit might to social media. With marketers looking for both social-media and digital guidance, PR has seen increased and broader assignments from current clients, closer relationships with CMOs and a much bigger pipeline of new-business pitches. Three-quarters of the 59 agency CEOs and CFOs surveyed by the Council of PR firms reported growth in the first half of 2010 vs. 21% in 2009. A majority (81%) of those surveyed are also expecting growth in 2010 overall revenue. And 75% said the new-business pipeline is stronger than it was a year ago compared to 33.8% who said the same thing last year. Spending on PR will hit $3.4 billion in 2010, an increase of 3% over 2009, according to Veronis Suhler Stevenson, a private-equity firm that publishes annual reports on the state of the PR industry. It expects that number to hit $4.4 billion by 2014. John Suhler, cofounder and president, said growth in the industry is being accelerated by a significantly increased rate of client adoption of social media and word-of-mouth marketing techniques. PR, up until now, wasnt central to a corporations overall branding strategy, Mr. Suhler said. There is now an opportunity for the PR profession and practitioners to use these [digital] tools and make PR a more important part of the communications arsenal. In their second-quarter earnings calls, Omnicom Group and Interpublic Group of Cos. reported increases in business of more than 7% for their PR divisions. Tom Harrison, chairman and CEO Omnicom Groups Diversified Agency Services, which oversees the holding companys PR shops, including Ketchum, Fleishman-Hillard and Porter Novelli, said part of the improvement in business is because of the dual role PR plays for marketers. PR can prepare a brand or product for its target market while also preparing the market for that new brand or product, Mr. Harrison said. There isnt another discipline in all of communications services that can do that for a brand. More and more its being taken for granted by marketers that social media and digital falls in the PR space, said Harris Diamond, CEO of Interpublics Constituency Management Group, which oversees Interpublics PR shops such as Weber Shandwick, Golin Harris and MWW Group. And the whole engagement concept and lack of trust people have in authority figures or characters telling them what to buy or where to invest plays to our strengths. PR shops have played major roles in developing, creating and executing digital and social efforts for key clients. Ketchum has worked on efforts for Kodak, Dr Pepper, Best Buy and FedEx. Weber

Shandwick has helped clients such as Pepsi and KFC while Edelman has handled efforts for eBay and Quaker. And PR agencies within WPP were behind Fords highly praised Sociable Drive campaign. ConAgra tapped Ketchum to work on the digital effort for Chef Boyardees Club Mom, launching in December. While many marketers have automatically given this type of work to digital shops because social media largely lives online, digital is really just the way social media is distributed, said Brett Groom, VP of content activation at ConAgra. The space is about listening and understanding what has impact with consumers, he said. PR agencies are more fundamentally aligned with the social-media structure and [know] how to figure out what things might resonate with consumers far better than a digital shop, which is more about the technology. Edelman CEO Richard Edelman admits that the digital shift is critical to the business increase but said companies have never faced more challenges on reputation than they do now, which has resulted in even more work. Were seeing the combining of corporate reputation and brand marketing and that plays to PRs strengths, Mr. Edelman said. MaryLee Sachs, worldwide director of marketing communications at WPPs Hill & Knowlton, said internal communications work is also driving new business. Marketers are beginning to realize that the consumer is not the be all and end all, and that there are a lot of other stakeholders that can influence the business, most of all employees, she said. The fact theres debate over whether marketing and PR should remain separate is evidence of PRs growing importance, said Ray Kotcher, CEO of Ketchum. You are going to start seeing decisions about whether marketing should report to PR, he said, adding that hes witnessed significant budgetary shifts from creative agencies to PR shops at some clients. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 SONYS LESSONS FOR HOW TO MARKET A SUMMER MOVIE BYLINE: ANDREW HAMPP SECTION: NEWS; Pg. 0009 LENGTH: 929 words

While its competitors struggled with an over-reliance on franchise tentpoles and inferior sequels, Sony Pictures flew under the radar to become the only major movie studio with a flawless track record this summer. From its surprise-hit reboot of The Karate Kid ($174 million), Adam Sandlers ensemble comedy Grown Ups ($158 million) and Angelina Jolies Salt ($100 million and counting) to strong August openings for The Other Guys ($70 million in its first 10 days) and Eat Pray Love ($23.1 million in its debut weekend), Sony is batting five for five. As Hollywood recovers from flagging attendance (admissions were down 2.5% season-to-date even as box office grew 3%, according to Hollywood.com), some important knowledge was gleaned on how (and how not) to market a film from May to August. Jeff Blake, chairman of Sony Pictures worldwide marketing, and Marc Weinstock, Sonys marketing president, shared 10 lessons.

1. ORIGINALITY
Whether it was Warner Bros. Inception, Focus Features The Kids Are All Right or Sonys own Salt, original storytelling paid off for studios and moviegoers fatigued from the same old script. Everyone was looking for that original thing, whats cool, what havent they seen before, Mr. Weinstock said.

2. TWITTER IS NOT ALWAYS YOUR FRIEND


The important thing with Twitter is no matter how big it is, its not an arbiter of success. It should be used to see what people are talking about and what theyre thinking, said Mr. Weinstock. Case in point: Universals Scott Pilgrim vs. the World was the top trending topic for three days before its release, but opened to a disappointing $10.1 million (and fifth place) debut. Added Mr. Weinstock: You can get into this frenzy before you make sure theres something useful about it. As marketers we have to dismiss it.

3. WHEN IT COMES TO SOCIAL, GO FACEBOOK


Whether it was talking directly to Will Ferrells fans to excite them for The Other Guys or launching the trailer for Eat Pray Love online before releasing it theatrically, Facebook is the best place for studios to market through user-generated channels and see measurable impact-and targeting tools. A lot of times well do whats known as a reach block where, depending on the audience of the movie, well buy all 18-to 24-year-olds or women 35 to 50. Theres very few sites where we can be that laser-focused, Mr. Weinstock said.

4. COUNTER-PROGRAMMING WORKS
Whether it was pitting Karate Kid against Foxs A-Team for the dueling 80s nostalgia weekend on June 11, or scheduling estrogen-heavy Eat Pray Love against testosterone-fest The Expendables on Aug. 13, well-timed matchups were a key part of Sonys summer strategy. Hopefully youre zigging when everyone else is zagging, Mr. Blake said.

5. COMEDY IS KEY
As Warner Bros. learned in a big way last summer with The Hangover, the highest-grossing R-rated comedy of all time, having a comedy released at just the right time can pay major dividends in the end. Junes Grown Ups and this months Other Guys were the only major comedies released all season save for Dinner for Schmucks, which underperformed for Paramount. If there was one break we got it was the lack of comedy, said Mr. Blake. 6. LET THE TALENT DO THE MARKETING FOR YOU With fractionalized media, the value of talent going out and supporting their pictures is immeasurable, Mr. Blake said. Case in point: Adam Sandler and his Grown Ups co-stars started promoting their film at the Super Bowl and didnt let up in the ensuing months, appearing on every talk show, event or junket they could. 7. SOMETIMES THE TRAILER IS ONLY A BIG TEASE One of the most hilarious (and shocking scenes) in The Other Guys involves co-stars Samuel L. Jackson and Dwayne The Rock Johnson, but its not even hinted at in the trailer or TV spots. We wanted to preserve the surprises as much as possible, Mr. Weinstock said.

8. DONT GIVE CRITICS TOO MUCH POWER


Things like Cinemascore or Rotten Tomatoes, theyre guideposts but they dont necessarily have anything to do with how youre running your race, Mr. Blake said. Even though sometimes the quantification of audience reaction can be difficult, you can just get a feel of whether the film has legs or not, from the real nuts and bolts stuff-are you up Saturday or down Saturday? What are your weekdays like?

9. INCEPTION WAS THE CAMPAIGN TO BEAT


Both Mr. Weinstock and Mr. Blake had to hand it to Warner Bros. marketing and distribution teams for creating the most clever launch of a film this summer. It was a very tricky concept in terms of what they were trying to explain. But they didnt dumb it down, they made it accessible, Mr. Weinstock said, invoking a similar approach the studio adopted for last summers District 9. Its sort of the lessis-more idea-you always want to show more of the story and get people excited, but if you have the visuals or originality you can pull back and let the audience fill in the gap and do the talking for you.

10. ITS ABOUT QUALITY, STUPID


If youve got the goods theres no more important place to put it. If you dont have the goods you get killed, Mr. Blake said. With the exception of Grown Ups, all of Sonys summer films benefited from largely positive reviews, and even the Sandler comedy overcame critical grumblings by playing to the comedians strengths. The movies delivered what the people wanted in each event. We didnt have to do any look over here diversionary stuff. I think ultimately people got what we were selling, which is this talent the way you want to see em. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 HOW A MARRIAGE OF POP CULTURE, SHOPPING GAVE HSN A NEW START; Marketing VP Brand put the focus on entertainment and affordability BYLINE: ANDREW HAMPP SECTION: NEWS; Pg. 0017 LENGTH: 732 words

Last year was not a good year to be in the retail industry. But for Bill Brand, exec VP-programming, marketing and business development for HSN (formerly Home Shopping Network), 2009 was an opportunity for the nearly 30-year-old network to reinvent itself.

In the past two years, Mr. Brand has made HSN more relevant to the modern home-shopper by revamping the companys image and programming to focus on more affordable products with ties to entertainment and pop culture. A recent promotion with singer Mary J. Blige for the exclusive launch of her first My Life fragrance shattered the retailers sales records, selling more than 60,000 units in just six hours time. Another tie-in with Sony Pictures Eat Pray Love, the companys first movie-marketing partnership, saw sellouts of more than 100 of the promotions 400-plus branded items. Mr. Brand joined HSN in 2006 with 16 years of experience as a programmer for local news, Lifetime and, most recently, VH1, and he took cues from cables ability to create branded events and applied them to his current role. Today, HSN is available in 95 million homes as well as on mobile devices like the iPhone, iPod Touch and Android, where consumers can watch a live HD feed and place orders. HSN.com is also a heavily video-enhanced site where consumers can watch clips on each product and discuss them on YouTube, Facebook and Twitter. Its all part of what Mr. Brand calls lifestyle editorial-programmed commerce. And with a modest marketing budget (HSN spent close to $5 million on measured media in 2009, according to Kantar Media), Mr. Brands mission is simple. Our goal is to bring stories to life. How did you activate the whole company around the Eat Pray Love promotion? We have a call center with 1,500 reps that were on the phones and able to handle every call. We wanted to make sure they were familiar with the story and were given the chance to read the book. Sony gave us 2,500 books that we gave to our staff on all our campuses. So if someone called and said, I really want that scarf from Italy, and that call-center rep knows exactly what shes talking about, by having that conversation you then create this community. Sony literally had a premiere party in St. Petersburg, Fla. [near our headquarters], and we worked with the shifts of our employees so they could see the film at our centers in California, Virginia and Tennessee. If we didnt prepare our teams through the book or the opportunity to see the movie, we might not have had such a successful event. Its about customer engagement, building the brand and conversation. You come from a 20-year TV programming background. How were you able to apply that to your current role? When I first met with [HSN CEO] Mindy Grossman, I knew she had worked with some great brands like Nike and Ralph Lauren, but I was pretty skeptical about HSN because it was a shopping channel. But after meeting with Mindy and understanding what brands were here and what she had her eye on, I understood this was a company that was nearly 30 years old, that we could transform and turn it into lifestyle programming. We wanted to tell more stories and still sell product at the same time, and kind of marry it all to bring it to life in a unique way. You introduced a rebrand in January 2009, in the thick of the economic downturn, and have seen sales

triple since then. How? What weve acknowledged through the economic downturn is that customers are going to be very discerning and looking for something unique and special. More than 70% of our products are proprietary and can only be found on HSN and our platforms. So pairing that with this idea that we never stopped investing in innovation and technology during the challenging economic environment allowed us to emerge with strength. For example, we made a shift from fine jewelry to a higher percentage of fashion jewelry. [Our customer] still wanted to shop and enjoyed the experience, but perhaps she didnt want to spend as much going in. 5 TIPS 1. Study your competitors, and find your point of differentiation. That will anchor your strategy. 2. Create events the whole company can get around, and consumers will reward you. 3. Build long-term partnerships, not one-off stunts. 4. Start conversations; dont play catch up. 5. Make your product available wherever your consumer is. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 For Bollore Group chief, industry intrigue, family saga drive power moves; In a candid interview with Ad Age, Vincent Bollore talks state of adland, future of Havas and why hes not retiring anytime

soon BYLINE: ABBEY KLAASSEN SECTION: NEWS; Pg. 0010 LENGTH: 1796 words

French industrialist and billionaire Vincent Bollore, chairman of family-controlled Bollore Group, has been riling the ad industry since buying a controlling stake in Havas five years ago in a boardroom coup and becoming Aegis Groups biggest shareholder shortly after that. A sometime corporate raider turned long-term investor, Mr. Bollore has pushed Havas to restructure and diversify. He flirted with a full bid for Aegis, and is in almost daily contact with Euro RSCGs global CEO David Jones. (Aegis and Havas are No. 6 and No. 7 in Ad Ages ranking of the worlds top 50 agency companies). His advertising and media interests, which also include TV, radio and newspaper businesses, are a tiny fraction of Bollore Groups almost $8 billion a year in revenue. But Mr. Bollore, 58, a personal friend of French President Nicolas Sarkozy, often finds the communications industry more intriguing than the groups ship-building, paper and energy activities. Mr. Bollore spoke to Ad Age Editor Abbey Klaassen this summer about everything from making electric cars to the future of Havas during one of his occasional brief forays, sometimes on one of his own boats, to the Cannes Lion ad festival. Two years ago, you were here talking about an electric car. Are you still in the electric-car business? Of course. We have in the last two years spent maybe half a billion euros, which is $700 million. We have built two factories, one in Montreal and one in the west of France, with a capacity [to make] 30,000 big batteries for big cars or 60,000 normal-size batteries for normal cars. And we have developed a car [pre-prototype], which, if we obtain certification, will be delivered by end of the summer. Whats the name of it? The car is a blue car, we have kept the name. Its just called Blue Car? BlueCar-its a very fantastic design, and its produced in Torino, with our battery. Besides that, we are making a bus ? the first one will be delivered in November. So its a reality. Is this a sort of personal passion of yours, green tech? No, its because for the last 30 years we are No. 1 in the world for capacitors, which are the small components for storing electricity. We have 40 to 50% of the worldwide market of capacitors, which is a small quantity of energy. Then we [moved] to the supercapacitor, which is a more important

quantity of energy, and the last goal for us, the last target, was the battery, because its a big quantity of energy and now everybody is fighting to show that he has discovered something. So 15 years ago when we started, we were absolutely scared because we were alone in believing in the electric car. And now, we are still scared because everybody wants to produce batteries and electric cars. So for you, this is a business reason, not necessarily a personal passion? Oh, no, no, its not a passion. I have no passion in my work except to create and develop [Bollore] Group, of which I am the sixth generation. Its a fantastic story to have six generations before you, 188 years, its like a saga. ? I love this story and my passion is that-not the car, the advertising or the oil business-its the company in general. Do you still feel like the advertising business is a good place to be? Oh, definitely. All is changing in this business. And we are the newcomers. ? Before my arrival, some financial investments were not well controlled, [and that] made Havas an outsider. But now, we are back. We are making fantastic earnings and we have the best, talented man at the head of the group. Do you think you can compete with the bigger holding companies? Of course, easy. The story is starting for us. We have the best financial structure on the market, we have cash in hand, we have talented people and we [arent tied to] quarterly earnings, which means we can innovate. For instance, Digital Inside, which is an idea of David [Jones, CEO of Havas], is something very clever. Instead of making an acquisition [which becomes] a very expensive and separate company, he has made [digital] the heart of the company. Do you envision doing big moves? I will make a lot of moves, but of course we cant say in advance. But we can be very quick and very patient. We can be very quick because we dont have a hundred directors, a hundred committees to convince before to make a move. Who do you have to convince? Nobody. Youre competing against much larger holding companies, and youve referenced some of their strategies for going digital, which has been very acquisition-heavy. Yes, I love to copy. And to see what they are doing. You love to copy? So what do you think of WPP and its strategy? Martin Sorrell is a wise, clever, very successful guy. Hes No. 1 in the world. So, yes, hes a model. And what about Publicis?

Maurice Levy is quite good, too. Well, youre going to be very politically correct, arent you? What do you think of his succession plan, or lack thereof? I have no idea. I cant comment on the competitors succession. My father was very close to [Publicis founder] Marcel [Bleustein-Blanchet], and I knew Maurice Levy when he was young and the head of Publicis. But now I am an important shareholder and chairman of Havas, and hes not as nice as before, because he sees Havas improving month after month. We are competitive. Thats it. You guys havent made any enormous acquisitions in digital like some of the other holding companies. Yes, but we have an internal development, which is as spectacular as a big acquisition, because the digital part of our business is improving very fast. If you buy something, that is a lot of money that you cant use for something else and, in addition, you have two closets: In one, you have digital; in the other one, you have no digital. We have preferred to put it together, and I believe its maybe less bright [and flashy], but more efficient. What about Arnold? A year ago you talked about Arnold going more global. Is that still the plan? I will let David answer that. DAVID JONES: Arnold is in Boston, New York, Washington. In London, in Prague, in Spain, in Italy. Brazil has a small presence. Arnold has won in the last two or three months an amazing amount of new business. In fact, two or three people have said this to me in the past few days, they probably have had the best business run of every business in North America, signing Panasonic, Mikes Hard Lemonade, New Balance, Culver and CVS. So the first kind of step of the plan is really to get North America going again as a major successful hub, and it is now, and its going to be the platform upon which we build the global network. Were now looking at markets like China, were looking at Brazil, were going to be doing something in London to boost our presence there, and Amsterdam. So what youll see over the course of the next 12 to 18 months is that well really put the sort of meat on the bones of building a genuine global micro network. The first step was putting Andrew [Benett] in as the new global CEO, with a very clear global remit, and the second step youre going to see play out over the next 12-18 months is the addition of those cities, and maybe more. Our goal is not to make it a full network, but what we want it to have is somewhere around 10 to 15 offices globally which are, you know, fully owned creative hotshops around the world, and then anywhere else they need to operate, they can operate through to have the [Havas] worldwide network. What about Aegis? Are you still interesting in combining Aegis with Havas media-buying division, MPG? MR. BOLLORE: As a financial investor, I am happy with Aegis. When I arrived, I thought that Havas was too small on the media-buying and -planning space. But Havas has developed, and Im satisfied.

Its not my view anymore; Havas is big enough. Are you going to try again to get the two Aegis board seats you demanded when you became Aegis largest shareholder? No. As you know, now we are very happy with the management, and we have no problem, we are voting for the resolution, and we have nice contact with the management, we are happy with what they are doing. The situation of Havas seems to be more attractive as the economy rebounds. Are you in it for the long haul? I am totally committed, and one of my sons is now on the board of directors. For us, its an asset for life. And what about Aegis? Aegis is quite different; we have no relationship with them. I appreciate the new chairman and hes doing a very good job. But I have no personal relationship; its totally different than Havas. Havas is a part of my blood now; Aegis is a financial investment. MR. JONES: Vincent fundamentally buys into and believes our plan and strategy. We dont need to worry about our doing in quarter one or quarter two, whereas I think every other major holding company is trapped in this quarter-on-quarter profit game, and that isnt necessarily the way you have the best agency. Do you have confidence in the media assets you have? MR. BOLLORE: Oh, yes, and the facts are proving that we are right. When we started our [TV] network, we had nothing; now we have 2% of the national share. ? We are the third-largest TV group, after TF1 and M6, which is not nothing after five years. We are the top newspaper in France, with 1.3 million [readers] a day. Of course, its free, so its easy to do it, but its a big success. Do you intend to keep it free as people keep talking about paid content? Oh, yes, definitely. And we are launching a new daily newspaper in the autumn. ? No news, just views. So its all opinion? Absolutely. Its eight pages, a cheap price of less than 50 euro cents daily, five days a week, and its only important and famous [bylines]. ? What about health care, what about pollution, what about new technologies? Well have one or two people, very well known, very famous, giving their opinion about that. We will commit roughly a hundred people working for us every year [on that]. Do you think the recessions over?

The economy is improving and the recession is over. But the reasons that created the recession, which is a financial doubt and operation, are still in the market. And that means that, at any moment, we can still have a financial collapse. So, to answer clearly, the real economy is now very good, and the recovery is clear. But its still risky, because the root of the problems ? is still present. Its like, you know, you have some gas in your house, but you dont know. You said you will retire in 2022. Why then? Its the 17th of February-save the date, we will have big fiesta. Its the second century of the [Bollore] Group. We will start the third century and it will be the seventh generation. February the 18th, after the big celebration, I will go for a long holiday. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 THE AD/EDIT WALL WORN DOWN TO A WARNING TRACK; Two sides quit bickering and seek ways to navigate the new reality BYLINE: NAT IVES SECTION: NEWS; Pg. 0003 LENGTH: 840 words

What wall? The question for print has become less about whether to cross the boundary between

editorial and sales and more about how best to do it. In the latest scene of church-and-state rapprochement, the new issue of Scholastic Parent & Child magazine has arrived with an ad page composed in collaboration with the magazines editorial staff. The collaboration runs counter to publishing norms. Keeping editorial separate is meant to reinforce readers trust, which in turn is supposed to make publications more valuable venues for advertising. A magazine industry group was dismayed. Confusing editorial and advertising is a betrayal of the best interests of both readers and advertisers, said Sid Holt, CEO of the American Society of Magazine Editors. Scholastic Parent & Childs defiance of industry norms is simply shameful. The magazine defended its integrity. Editor in Chief Nick Friedman said he participated partly because the product, Curl Itch Defense lotion, was sound. A very sugary drink wouldnt get the same treatment, he suggested. And when the magazine asked a panel of 2,500 readers about the ad before it ran, 92% called it informative and 97% said it wasnt confusing, according to Risa Crandall, VP at Scholastic Parents. We know and research our readers better than anyone and never accept a new unit until we completely vet it with our paramount audience, the reader, she said. Media watchdogs can complain, but you can expect more and more scenes like these as teamwork and case-by-case decisions increasingly replace the rule of thumb that held edit largely apart from business operations. However flexible the partition was in practice, and however its application varied from publication to publication, its generally becoming less like a wall and more like a warning track. As partnerships between editorial and business have bloomed particularly in the past 18 months, so has research into what readers expect and will accept, according to Brenda White, senior VP and publishing activation director at media agency Starcom Worldwide. Ive talked to many editors about this topic, she said. They definitely protect their brands and, more importantly, they protect their consumers. Im seeing a lot more research around from the magazines saying Hey, would our readers be open to X, Y, Z? Everyone also needs to understand the other parts of their own publications, said Douglas Smith, executive director of The Punch Sulzberger Executive News Media Leadership Program at Columbia University. At the very time you face an almost endless series of questions about the enterprise, you dont have general management experience or perspective as a given or even routine thing, he said. Talk in the Sulzberger program often turns to ways editors can work with others without undermining editorial values. Weve certainly seen a number of experiments that are going on that are clearly trying to preserve the journalistic values while at the same time doing the necessary innovation, Mr. Smith said. The boundaries of whats permissible and not permissible are going to be explored. At The Christian Science Monitor, whose top editorial and business executives have participated in the Sulzberger program, the two sides are trying to collaborate more often. What were doing is trying

to remove the taboo about having a conversation across the wall and put various people-not just the editor and publisher, but deputy editors and national editors-and put them in conversation with the business people, and say rather than never talk, go and talk, said John Yemma, editor of The Monitor. As a practical matter, thats meant sharing some turf. When Mr. Yemma first arrived a year and a half ago, the websites developers worked for the editorial department. That is a bad way of doing things, he said. Developers should be working for the publishing side, with editorial perhaps having a say. And when The Monitor recently needed to hire a new online editor, which once would have been almost entirely the editors purview, Mr. Yemma and managing publisher Jonathan Wells worked together on the choice from the beginning. Were trying to make a business here, not play These are my toys on the editorial side and those are his toys on the business side, Mr. Yemma said. The new specifics arent going to be the same for everyone. Fashion magazines always operated differently than metro daily newspapers, and that hasnt changed. But the wall was almost a privilege of simpler times, more editors and publishers seem to agree. I dont think we have the luxury any more of being isolated, said Bob Yates, deputy managing editor for sports at the Dallas Morning News, which drew curiosity and some criticism last December for assigning some editors, including Mr. Yates, to report directly to new general managers on the business side. The change hasnt affected editorial coverage, he said, but has helped it seize editorial opportunities and get sponsors more quickly. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010

How does your garden grow? Apps make analytics that much harder BYLINE: JACK NEFF SECTION: NEWS; Pg. 0003 LENGTH: 703 words

Tracking the effectiveness of advertising on the web was hard enough. Tracking it in the era of walled gardens could become that much tougher. The rapid shift of web audiences and marketer attention toward closely controlled properties such as Facebook or Apples iAd platform is presenting a growing challenge for web analytics. Nearly a quarter of online time at the PC is now spent with social media, the lions share of that on Facebook, according to Nielsen Co. With more of marketers owned media-i.e. their online relationship marketing programs-now hosted within Facebook, that only becomes a bigger challenge. A number of companies have invested heavily in their analytics platforms over the past five years, said Michael Stich, group director of strategic planning for Bridge Worldwide. Theyve spent lot of money on reporting and scorecards. This really does put a black hole in the middle of those scorecards. By far the biggest issue, because it has by far the biggest and most diverse audience, is Facebook, which now counts a quarter of the worlds internet users as members and more than 40% of the total U.S. population as monthly visitors, per Compete.com. Attribution analysis, or determining which of numerous digital media gets credit for a sale or a targeted behavior when the same person has been exposed to many ads and offers, is hard with Facebook because the site limits the data it will share, Mr. Stich said. Facebook did this spring unveil an improved-and free-Insights program with more demographic data about pages fans. But it still doesnt offer the range of analytics marketers are used to for their own websites or email programs. A Facebook fan, whatever the count, isnt the same thing as a website visitor, said Hemen Patel, president of CRM Metrix, which handles web analytics for such marketers as Procter & Gamble Co. and Coca-Cola. Nor is a Facebook fan page really free, he said. Even though the platform may be free, the agency is charging $250,000 to $300,000 to maintain it, he said. Then we see figures like 300,000 fans, but only 300 do anything actively. ?The question becomes am I really going to sell $1,000 worth of Tide to this one person over a lifetime? The numbers of active fans may be low, but both Facebook and marketers are focusing more on the passive aspect of fanhood-receiving news and status updates from brands-Mr. Stich said. Surveying those fans on pre-and post-exposure purchase intent or behavior can help solve some of the analytics

issue, he said. Mr. Patel said Coke and others are starting to survey fans on Facebook about such things as how much Coke they drank when they first became fans vs. later over time. That can eventually allow marketers to determine how much its worth to spend per fan on Facebook programs, he said. But just knowing how many fans truly read a brands status updates-and when-is tricky. Right now, people are arguing that everyone whos a fan gets these updates, and therefore it counts as an impression, Mr. Stich said. I dont necessarily agree, because not everyone reads every single update. He suggests backing into a number by putting clickable links into messages, measuring clicks and creating an audience estimate based on standard clickthrough rates. It leaves a lot to be desired, however, compared to measuring the sales impact of brand email programs, which often is possible through marketing mix modeling, according to Gregg Ambach, managing director of Analytic Partners, Cincinnati, a marketing analytics firm. When I send out an email blast, he said, I know how many people opened it and when. I know how many people clicked through if there was something to click through to. There are just far more touch points [than with Facebook newsfeeds] that get me closer to analyzing sales impact. For all the data challenges, its hard to beat the cost or the access to a huge shopper base, many of them on mobile devices, said Rich Lesperance, director of online marketing for Walgreens. What theyve done for brands has been phenomenal, he said. Its hard to complain that their metrics arent good enough when in this world you get what you pay for. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age

August 23, 2010 Shoutomatic might be the antithesis of what you should be doing-but it could work BYLINE: BOB GARFIELD SECTION: NEWS; Pg. 0016 LENGTH: 583 words

A few years back, I had a nice call from Kato Kaelin. It was a birthday gift from a friend with a congenital surplus of irony. He thought it would be hilarious to pay 50 bucks or whatever to get me in touch with a G-list celebrity who was celebrated in approximately the way Kaelins landlord, O.J. Simpson, was innocent. It was such an absurd little interlude, because all I could see in my minds eye was this serial loser sitting in some inner circle of Has-Been Hell with a list of nine names and ticking down the list one by one. Because I am a man with a congenital surplus of empathy, I hoped that Kaelin salvaged some shred of dignity by embracing the absurdity, too. But probably I was missing the point-the point being that there was an actual market for out-of-theblue phone calls from somebody who became recognizable as a witness at a televised murder trial. Because P.T. Barnum and H.L. Mencken and Perez Hilton are all correct. Enter, then, Shoutomatic. It is one of a half dozen web-based apps for recording audio status updates on Twitter or Facebook. Its a handy little gadget, enabling anyone to share their uninteresting observations and/or travel plans with their own voice. About to eat a scrumptious falafel is fascinating in its own right; just imagine adding the dimension of sound. The thing about Shoutomatic, though, is its unique selling proposition-namely, audio status messages as a unique selling engine. So, in other words, explains Norm Levy, founder of Shoutomatic, you can hire Bo Bice to say, Hey, this is Bo Bice. Im walking out of the studio right now and sitting back with a cold Coke in my hands and catching up with my emails and my tweets. Bo Bice being the rock n roller who finished runner-up to Carrie Underwood on American Idol in 2005. He is just one of the Shoutomatic galaxy of stars. We have Danny Bonaduce., Levy says. You remember him from The Partridge Family. We have Chuck D from Public Enemy. We have Bradley Arnold, who is the lead singer from 3 Doors Down. We have a person named Jasmine V, and she is the girl thats in Justin Biebers new video and she has over 200,000 Twitter followers. We have Sean Kingston. We have Iyaz. We have Krayzie Bone, legendary rapper.

OK, so Vanity Fairs Oscars after-party the roster its not. And the Federal Trade Commission might wish to have a word with the Coca-Cola Co. if it is compensating Bo Bice for his endorsement without proper disclosure. And maybe Shoutomatic is the very antithesis of the Listenomics we should all be embracing. Still, me, Im betting on Norm Levy-because falafel tweets are boring when they come from your colleague in risk management, but they are something else altogether in the voice of the great Danny Bonaduce. Who, I assure you, will not long be the celebrity gold standard for audio status updates. Until such time as Clooney comes aboard, though, Levy has another profit center. You go to [a celebritys] profile, he says. Theres a buy button and a dialogue box there to tell Bo Bice what to say to your wife, to you daughter: Hey, this is Bo Bice with a shout-out from Sweet Home Alabama, wishing you a very special happy birthday. I just bought a Bo Bice tweet myself for $9.99. Sending it to @RealKatoKaelin. Title: What circle you in? Text: See you on digital cable. Bo. Bob Garfield, now a consultant, has reported on advertising, marketing and media for 28 years. Reach him at bob@bobgarfield.net Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 FTC green guidelines may leave marketers red-faced; Experts say pending guides could upend efforts and make some 300 environmental seals of approval unsustainable

BYLINE: JACK NEFF SECTION: NEWS; Pg. 0001 LENGTH: 567 words

Attention marketers: Within the next few weeks, you may be recasting your entire green-marketing strategy. Right now on the desks of Federal Trade Commissioners is the new set of so-called Green Guides that are used by the FTC to guide enforcement of existing laws. They are the first environmentalmarketing guidelines in 12 years and could radically reshape how far marketers can go in painting their products, packaging or even corporate images green. Christopher Cole, an advertising-law specialist and partner with law firm Manatt Phelps & Phillips in Washington, said the guides could render most of the more than 300 environmental seals of approval now in currency on packaging and products largely useless and possibly in violation of FTC standards. They could also influence efforts, seemingly stalled, by retailers such as Walmart to institute a sustainability-rating system for products. The guides are expected to tighten standards for packaging claims such as recyclable or biodegradable; regulate how marketers use such terms as carbon neutral; and how quickly and close to the source of carbon output carbon offsets must be executed, among other things. They may also attempt to define such legally and linguistically squishy terms as sustainability or tackle the central issue of many greenwashing controversies-trying to define how far companies can go in painting themselves as green in advertising when they or their products also have detrimental environmental impacts. A spokesman for the FTC said the commission is on track to meet its schedule of issuing updated guidelines by the end of summer, and that theyre likely to cover areas that were the subject of FTC workshops over the past three years, including carbon offsets, packaging claims and environmental seals of approval. I would expect that theyre going to require more concrete showing of environmental benefits, and insubstantial environmental harm associated with anything that wants to claim green, friendly or ecoconscious terms, he said. To the extent its been undefined, the bar has been pretty low. Almost certainly issuance of the guidelines will increase enforcement and litigation around green issues, Mr. Cole said. Some of that will come from the FTC itself. During the first two years of the Obama administration, the FTC has already brought seven environmental advertising enforcement actions, compared to zero during the eight years of the Bush administration.

Its unclear whether the new regulations will favor any one class of advertisers over another, Mr. Cole said. But an increase in litigation or arbitration of green claims could favor bigger marketers in a space where many key players remain relatively small independents, such as Seventh Generation and Method. The bigger players have bigger pockets and in-house counsel to handle litigation. Spokespeople for both those companies said theyre following the development of the Green Guides closely but have no predictions on how theyll look. The Green Guides arent new laws; rather, theyre an update of how the FTC will interpret its mandate to enforce longstanding laws against unfair and deceptive advertising. Still, the spokesman said the FTC will treat them like other new regulations, publishing them in the Federal Register and instituting a comment period before they become final. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 EXPECTING SOMETHING IN RETURN FOR YOUR CHECKIN EFFORTS? SAY NO MORE; New crop of location-based loyalty apps reward consumers with deals, discounts BYLINE: KUNUR PATEL AND NATALIE ZMUDA SECTION: NEWS; Pg. 0006 LENGTH: 1109 words

The card-based loyalty program might just be going the way of the dinosaur ? or the two-way pager. The newest crop of location-based mobile apps rewards consumers for actions before they reach the register, and it could save them from fumbling for cards in wallets or loading down their key rings with plastic tabs. Mobile apps like Shopkick, Loopt Star and CheckPoints offer shoppers discounts and deals when they check in, walk into a store or pick up products and scan their barcodes. One startup focusing on loyalty programs for hotels, Topguest, even rewards users for tweeting. We realized a while ago that the conversations about our hotels are happening on Facebook or Twitter without us, said Michael Doneff, VP-marketing for Viceroy Hotel Group, which offers discounts to users who check in at its hotels through Topguest. These are guests who are passionate about our properties; why wouldnt we want to reward that? This set of loyalty apps also takes the checkin-to-places phenomenon that Foursquare has popularized right to the mall or grocery aisle. Rather than checking in to alert your social network or post to Facebook, users can check in for discounts to use at the register or for points that add up to gift cards, prizes or donations. And there are some big-name proponents. Mikael Thygesen, chief marketing officer at Simon Property Group, just spent the past few weeks traveling to big-name retailers with Shopkicks founder and CEO Cyriac Roeding. They have all been intrigued and interested, Mr. Thygesen said of the meetings. The fact that, for the first time, you as a retailer are going to be able to identify a shopper when they cross the threshold of the store, not when theyre at the point-of-sale and getting ready to exit the store, thats a game changer. SHOPKICK WHAT IT DOES: The app rewards shopper behavior, beginning when they walk through the door. Consumers rack up points for scanning products, testing products or even visiting a dressing room. Rewards are doled out as special offers and discounts from the retailer, or as Shopkicks currency, Kickbucks (see sidebar), which can be donated to charity or redeemed for Facebook credits, products or gift cards. BRANDS ONBOARD: Best Buy, Macys, American Eagle, Sports Authority. Simon Property Group will be rolling out Shopkick technology in more than 100 malls before the holiday season. WHY ITS DIFFERENT: Instead of relying on GPS technology for checkins like other apps, Shopkick uses a device in store that emits an inaudible sound picked up by the users phone. That ensures consumers are only rewarded when they actually enter the store. SWAGG

WHAT IT DOES: Swagg is meant to be a mobile wallet-consumers can buy, send and redeem gift cards through the app, without the piece of plastic. Like credit-card companies, Swagg will reap fees on transactions. With an iPhone app slated for the holidays, Swagg also aims to consolidate numerous membership and loyalty cards for multiple stores in one app that keeps track of purchases and alerts when rewards are due. The app is also a vehicle for location-based offers and deals. Users can set their preferences to tailor the deals they receive-say, decline mens clothing, prefer electronics-while Swagg collects on a cost-per-action basis. BRANDS ONBOARD: American Apparel, with more expected in the coming weeks. WHY ITS DIFFERENT: In a category crowded with venture-funded startups, Swagg enjoys the backing of Qualcomm. The tech giant bought Swagg developer Firethorn for its mobile-commerce expertise and already enjoys relationships with major handset manufacturers. LOOPT STAR WHAT IT DOES: Check in at participating stores on Loopt Star and get a discount to take to the register. The app recently launch Rewards Nearby so users can find deals up to 20 miles away when they launch the app. The new feature puts the four nearest special offers to you at the top of the checkin screen and, since it launched, stores have seen foot traffic from the app spike, says Loopt founder Sam Altman. BRANDS ONBOARD: Gap, Burger King, Steve Madden, Element, Paul Frank WHY ITS DIFFERENT: Loopt grew up as a social location-based network like Foursquare and recently moved into retail with the launch of its Star extension. The app is also based on Facebook, which could prove fruitful now that the social network is turning on its new location feature, Places. The reason were moving everything to Facebook is were close to a world when you can display your location to all your friends, Mr. Altman said. Theres about to be 100 times more geo-social data there. TOPGUEST WHAT IT DOES: Launched in June, this service aims to convert your existing checkins and tweets about hotels and airlines into loyalty points for programs youve already signed up for. When you check in on

Foursquare or tweet about a travel brand, Topguest automatically translates those social-media actions into points for a loyalty program. Brands decide the value of actions, like checkins and social-media mentions, to rewards points beyond dollars spent. BRANDS ONBOARD: Users can earn loyalty points at 4,500 hotels globally. Its partnered with the rewards program Priority Club, which includes Holiday Inn, Intercontinental, Crown Plaza and Hotel Indigo. Standard Hotels and Viceroy have also signed on. WHY ITS DIFFERENT: Topguest is not an app and doesnt ask you to check in or post on yet another service. Rather than trying to get consumers to adopt new behavior, we want to give rewards for things theyre already doing like checking in on Foursquare, said Geoff Lewis, Topguest CEO and cofounder. CHECKPOINTS WHAT IT DOES: When the app launches this fall, users will earn prizes like iTunes songs or iPads, gift cards or airline miles for picking up and scanning product barcodes once theyve checked in to a specific store. When the app is opened, it features a list of products that are worth points. Featured products from brand partners allow for bonus points or special promotions like coupons or buy one, get one offers. BRANDS ONBOARD: CheckPoints will announce a number of brand partners at launch in mid-September, said CEOcofounder Mark DiPaola. WHY ITS DIFFERENT: This app focuses on supermarkets, office-supply stores and home-goods outlets, which house multiple brands on its shelves. Mr. DiPaola calls it more product-focused than other apps. When a user goes into these busy places with tens of thousands of products, were aiming to drive consumers to pick up specific products, whereas they may have walked past that product before, or not even walked down that aisle, he said. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 Game theory: How (and why) Facebook, Twitter, etc., became recess for grown-ups BYLINE: SIMON DUMENCO SECTION: NEWS; Pg. 0016 LENGTH: 880 words

The more I think about the rise of social-media gaming culture, the more it breaks my heart. Gaming giant Zynga, in particular, makes me feel unplayful. At the risk of sounding like a spoilsport, I just want to point out the sad, rather blatant subtext riding just below the surface of some of Zyngas biggest recent hits. Though the 3-year-old company initially catapulted to prominence with its Facebook game Mafia Wars (still going strong with 25.9 million MAU-monthly active users), it became a Silicon Valley obsession thanks to the rise of virtual-farm game FarmVille, with, as of this writing, 61.9 million MAU. Zynga knows that online game players have short attention spans, so its constantly refreshing its line-up of time wasters, with FrontierVille (32.1 million MAU) and Caf World (28.6 million AMUs) lately ascendant. (Zyngas been on a tear this summer, branching outside of Facebook by announcing a partnership with Yahoo, introducing its games to the iPhone/iPod Touch App Store and just this month buying two social-gaming companies, Tokyo-based Unoh and Boston-based Conduit Labs.) In FarmVille, of course, you work your own plot of land, while FrontierVille stokes nostalgia for Manifest Destiny (Howdy, Pardner! Come join us on the frontier, where youll carve out a home in the wilderness and raise a family). Caf World makes you a small-business owner/operator. If only. Think about all this for a moment: An American gaming company is captivating millions around the world by getting them to obsess about fake food, fake business and fake real estate. How Americaright-now is that? The country that gave the world the housing bubble and the KFC Double Down

(according to figures recently released by the World Health Organization, 67% of Americans are overweight) is betting big on pixelated playgrounds filled with sprawling plots of land, farm-fresh produce and fantasies of cooking, slicing, chopping, sauting and baking your way to the top of the culinary world! in Caf Worlds words. To date, more than half a billion dollars of venture capital has flooded into Zyngas coffers. And thats just the start of it. Everybody wants to play. Google recently bought Slide and onlinecurrency-management company Jambool specifically to edge in on Zynga/Facebooks territory. Facebook itself last week announced that its cranking up its location-based services, moving aggressively into the LBS market that Foursquare made hot largely by turning checking in into a sort of social game, with its goofy badges and mayor of honors. (Personally Id like to see Mayor McCheese finally forced out of office at McDonalds. If my colleague Ken Wheaton ever gets on Foursquare, Im backing his campaign.) Twitter is more and more becoming a word-gaming platform, whether users realize it or not (hashtag trends like #untilfurthernotice are about text-based play/entertainment, basically). And Disney is shelling out at least a half billion (an earn-out provision could bring the price tag closer to threequarters of a billion) for Playdom, the company behind, among other things, Sorority Life (4.4 million Facebook MAU), a game in which, as The New York Times dryly notes, players shop, party and go to the spa-and buy virtual goods, like digital outfits for $2.50. In other words, if your house has been foreclosed, youve lost your job and you cant even swing T.J. Maxx anymore, well, as Sorority Life coos, the Hamptons Summer outfit is the perfect addition to your summer wardrobe! The totally fake, nonexistent Hamptons Summer outfit, that is. (I bet fake fashion goes out of style way faster than real fashion. Sigh. If only you could give hand-me-downs to the people on Second Life.) Or maybe you do have a job still and youre shopping and farming or cooking on the clock-while looking terribly productive, tapping away at your keyboard. Thats the beauty of Web 2.whatever: Weve automated time-wasting. Weve made it insanely sticky. Weve made it look, and feel, like work. For some reason, every few months in Britain someone seems to do a new study claiming that social media in general is wasting everyones time. The numbers always seem a bit dubious and overreaching. The employment site MyJobGroup.co.uk, for instance, most recently made headlines in early August by calculating that workday use of Facebook, Twitter, et al., are robbing the British economy of $22 billion a year in employee productivity. Of course, we all know theres a grain of truth to such calculations, but they also miss a larger point: In the Great Recession, those of us lucky enough to still have jobs are often burned out at work and/or bitter and/or entirely disengaged. And so we escape without actually escaping. We may try to convince ourselves of the business value of social networking-which, helpfully, has that bizzy word networking baked right in-but more and more, when you get right down to it, were just playing. By the way, if you can bear yet another level of poignancy, eMarketer just released projections that marketers worldwide will spend $220 million on advertising in social games this year-up from $183

million last year. Building distractions within distractions: Now theres a solid growth area. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 PEOPLE ON THE MOVE SECTION: NEWS; Pg. 0019 LENGTH: 650 words

Cameron Death has been promoted to senior VP-general manager of NBC Universal Digital Studio. Since joining NBC Universal in November 2007, Mr. Death had served as VP-digital content, and shortly after launched the NBC Universal Digital Studio, which creates original digital content for major advertisers. With the Studio, Mr. Death has secured, produced and distributed shows such as Ctrl for Coca-Cola, In Gayle We Trust for American Family Insurance and Garden Party for Hidden Valley Ranch. Prior to NBC, Mr. Death spent over 10 years at Microsoft, where he drove marketing, sales, business and product development strategies for several online businesses. NBC Universal Women & Lifestyle Entertainment Networks has named Tony Cardinale to the newly created post of senior VP-strategic insights. Mr. Cardinale joined the company in 2005 as VPresearch of Bravo Media and was most recently senior VP-research and insights, Bravo Media &

Oxygen Media and Women at NBCU. Before that, he was at ZenithOptimedia as senior VP and head of strategic insights for Saatchi & Saatchi Media, Zenith Media and Optimedia. In his new role, he will grow a research team across NBCUs Women & Lifestyle Entertainment Networks portfolio and will be responsible for identifying insights that drive brand and audience development. Athletic retailer Finish Line has promoted Samuel M. Sato from exec VP-chief merchandising officer to president-chief merchandising officer, and named Steven Schreibman VP-chief marketing officer. CMO is a new position at the athletic retailer as it seeks to strengthen marketing and support its brand position. Before joining Finish Line in 2007, Mr. Sato was at Nordstrom for 22 years, where he was most recently VP and corporate merchandise manager for the mens shoes division. Mr. Schreibman comes to Finish Line from Nationwide Insurance, where he most recently served as VP-advertising and brand management and created Nationwides Life Comes At You Fast campaign. Prior to Nationwide, he was director-marketing for Victorias Secret and also held positions at LOral, Phillip Morris and VH1. Tony Platt has been elevated to the new position of chief creative officer for the customer relationship management and custom publishing practice at Meredith Integrated Marketing. Mr. Platt joined Meredith in July 2005 from Grey Direct/West. He has previously held the position of executive creative director at such agencies as Wunderman Worldwide, Arnold, Digitas and The Martin Agency. Digitas Health has named Susan Manber senior VP-executive planning director, and Mark Miller has been appointed senior VP-strategic services. Before joining Digitas, Ms. Manber served as exec VPchief strategy officer at Lowe Alchemy, where she led the creation of brand ideas for Splenda, Ortho birth control and others. Mr. Miller was most recently at Epsilon, where he headed the health-care consulting practice. AdGenesis, a new consumer-oriented video-advertising network, has appointed Michael Kelley CMO. Mr. Kelley joins AdGenesis after a 23-year career at PricewaterhouseCoopers, where he was most recently partner-advisory services, entertainment and media sector and oversaw global marketing for PwC. Prior to joining PwC, he was a marketing executive with McDonalds. In addition to AdGenesis, Mr. Kelley will continue to run his own venture, Unconventional Partners, which specializes in developing content and 360 consumer experiences for brands. Unicast has promoted Bryan Hjelm to VP-product and marketing. In his former role as VP-marketing, he led brand and marketing strategies, PR and communications programs for the online rich media provider, and will now oversee product organization in addition to that role. Prior to Unicast, Mr. Hjelm was a group account director at Springbox, an Austin-based interactive agency. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine

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Advertising Age August 23, 2010 With U.S. consumers tapped out, it will take other markets to float our economy BYLINE: RANCE CRAIN SECTION: NEWS; Pg. 0015 LENGTH: 733 words

The Great Recession happened because consumers were asked to do too much. And now theyre expected to do too much again. American consumers contribute 70% of our gross domestic product, so we are dependent on them to buy stuff they cant afford or dont really need. Thats why the government made it so easy for home buyers to get mortgages-we needed the spending not only for the loans but also all the home furnishings to keep the economy humming. It would have been almost anti-American (or at least anti-American economy) for the government or anybody else to warn consumers that housing values dont always go up, and that mortgage rates dont always stay low. It was nave when I wrote a couple of years ago that the advertising industry had an obligation to point out the fine print in some of the sweet deals being made to keep home sales soaring. Why should the ad business be responsible for killing the golden goose (geese?)? Now I notice Bank of America is touting mortgage forms that spell out, in plain language, the terms of the agreement. But that wont hold back sales because there arent many mortgages being written these days anyway. And dont give much credence to the Obama administrations fling with behavioral economics designed to combat the notion that consumers make rational buying decisions. To keep the economy going, the government doesnt want consumers to act rationally. Business Week commented that

behavioral economics is a new role for government. Pennsylvania Avenue as counterweight to Madison Ave. In reality both sides are pulling in the same direction to keep consumers spending. But that 70% of GDP is a pretty big load. To hit the mark, consumers must not only spend, theyve got to stop saving. During the salad days of the economy consumers reduced their saving from 6% to 2%, and in the final stages of the boom, down to 0%. Now theyre restocking their larders and salting away money at historic highs. That kind of parsimonious behavior simply cant sustain a robust economy revolving around consumer profligacy. The magazine industry is another segment of our economy that finds itself too dependent on an unsustainable formula. Conde Nast, in announcing a change in top management, signaled that it was determined to also change its 70% reliance on ad revenue. We have been so overtly dependent on advertising as the turbine that runs the place, and that is a very, very risky model as we emerge from the recession, CEO Charles H. Townsend told The New York Times. So how do we wean ourselves away from outmoded economic models? One answer for the economy in general is to move away from reliance on consumer and housing and toward business investment and exports. Let other nations take up the slack. The U.S. consumer has long fueled not only our economy but the worldwide economy, but now consumers in newly developed nations are gaining enough firepower to buy our cars, our food products and our toothpaste. General Motors now sells more cars in China than it does in the U.S., and the Chinese want the brand-name merchandise that we are so good at marketing. For example, in response to the changing U.S. market, Procter & Gamble is doing the once unthinkable-slashing prices - at the same time it pushes into new territory including Brazil, India, and parts of Africa, where it has longed lagged, according to The Wall Street Journal. It used to be that buying luxury goods in this country was an aspirational thing, but now the new consumer is embarrassed by flashy shows of wealth, the Journal said in another story. That isnt the case with consumers in newly developed countries. Striving for little luxuries is a powerful incentive for consumers in those countries to work hard to boost themselves out of poverty. What could be better than U.S. consumer companies paying emerging-nation workers a living wage so they can afford to buy some of the products that would make their lives more enjoyable, just like Henry Ford did here so his workers could afford to buy his cars? If-and admittedly, its a big if-exports and business investment can take the pressure off the U.S. consumer to buy beyond his or her means, theres at least a chance that our economy can chug along without fomenting the buying frenzy that took us to the brink of disaster-and will surely crush us the next time. Copyright 2010 Crain Communications Inc. All Rights Reserved.

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Advertising Age August 23, 2010 THE WORK BYLINE: Teressa Iezzi SECTION: NEWS; Pg. 0023 LENGTH: 473 words

RMS TITANIC EXPEDITION TITANIC DEMO VIDEO AGENCY: FIRSTBORN A closeup of the fallen ship. Viewers will get a closer peek into the history and wreckage of the Titanic on August 22nd, when RMS Titanic Inc., partnering with with Woods Hole Oceanographic Institution and the Waitt Institute, will launch Expedition Titanic. To promote the expedition, RMS teamed with Firstborn on a broad digital strategy that includes a fully immersive site and social media. The site itself transports viewers 2.5 miles below sea level and includes a 3-D virtual tour of the wreckage, all of which is embedded with historical information. The agency is also launching socialmedia initiatives to drive viewers to the site, which include video interviews of the crew seeded on

YouTube and Facebook.

LISSIE CUCKOO WEATHER CONTROLLED INTERACTIVE MUSIC VIDEO As fickle as the weather. This new interactive music video for Lissies Cuckoo changes according to the weather.

GE THE GE SHOW AGENCY: BARBARIAN GROUP The adventure bears fruit. GE opens itself up even further with The GE Show, a new interactive online series that sets out to make major issues addressed by GE-like health and transportation-more digestible for the general public. The show is one of the fruits borne from GE Adventure, and was launched by Barbarian Group a year and a half ago. The first episode tackles the subject of health care. Not a straight-up web video, its broken down into five modules that get people to learn more about the issue through video, infographics and games, all while educating consumers on what GE is doing in the area.

HEAL THE BAY THE MAJESTIC PLASTIC BAG AGENCY: DDB, LOS ANGELES A lighthearted look at an environmental horror DDB L.A. created this mockumentary for Southern Californias coastal environmental group, Heal the Bay. The video, narrated by Jeremy Irons, shows the life cycle of the plastic bag, from grocery store to the Great Pacific Garbage Patch.

According to the organization, 19 billion bags are used every year, creating over 123,000 tons of unnecessary waste, and less than 5% of all single-use bags are recycled, with many ending up in the Pacifics gyre of plastic. WRITER: SARAH MAY BATES, REGIE MILLER CREATIVE DIRECTOR: KEVIN MCCARTHY PRODUCER: VANESSA MACADAM EXECUTIVE CREATIVE DIRECTOR: MATT REINHARD COMMUNICATIONS DIRECTOR: MATHEW KING DEVELOPMENT MANAGER: NATALIE BURDICK WATER QUALITY DIRECTOR: KIRSTEN JAMES PRODUCTION COMPANY: PARTIZAN DIRECTOR: JEREMY KONNER DIRECTOR OF PHOTOGRAPHY: ERIC HAASE EXECUTIVE PRODUCER: GEORGES BERMANN EXECUTIVE PRODUCER: SHEILA STEPANEK

DOS EQUIS DOS EQUIS BY KAWS Another interesting man lends his signature to the beer. Street artist KAWS creates a new brand ID for Dos Equis using his trademark x x. ARTIST: KAWS PRODUCTION COMPANY: ANOTHER COMPANY DIRECTOR: JAKE SUMNER Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010

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Advertising Age August 23, 2010 The summer movie marketing report card-in 3-D!; What did and didnt work for studios this season (OK, so its not really in 3-D) BYLINE: ANDREW HAMPP AND ARIS GEORGIADIS SECTION: NEWS; Pg. 0008 LENGTH: 1393 words

Like any sequel, youve seen this one before: Hollywood pulled out all the marketing stops again this summer as the major studios tried to ride last years box-office high. Witness the overblown promotions for Paramounts Iron Man 2 and The Last Airbender, Warner Bros. Sex & the City 2 and Disneys Prince of Persia. Nostalgia was one big theme-for example, the same-weekend openings of 80s flashbacks Karate Kid (Sony) and A-Team (Fox), not to mention the release of Foxs Predators and the movie that seemed to be made in the decade of Velcro and Casio, Lionsgates The Expendables. But familiarity often breeds contempt, as evidenced by the poor performance of Universals attempted reboot for Robin Hood, not to mention the underperforming sequels in the Iron Man, Sex & the City and Shrek franchises. Those four films alone were largely responsible for Hollywoods weak May performance, with box-office grosses down 11% and attendance off a worrisome 19%, enough to make any movie exec squeamish about the months to come. Luckily, families, 3-D and animation ruled, to a point where it seemed like all Hollywood marketers

had to do was show a clip of a cute cartoon character to guarantee big box office. Even Universal rebounded from an otherwise crappy summer slate by scoring a surprise hit with the non-sequel Despicable Me. Originality was also in the mix, despite Hollywoods fallback on sequel and franchise mania when the weather gets hot: Warner Bros. Inception backed up the early buzz by packing audiences in for repeat viewings, and Sony Pictures Salt, though riffing on the popularity of Jason Bourne and James Bond, still rode a smart marketing effort-and that rarity these days, star power-to open big despite following Inception by a week. As of Aug. 16, Hollywoods summer grosses were up 3% vs. last season, but attendance was down 2.49%, according to Hollywood.com, a sign that studios will have to work harder to get people to keep coming back to the movies this fall. So which marketing departments earned their keep this summer? Like much of the movie slate, its been a mixed bag. So we tallied each studios summer box-office receipts and gave extra weight to exceptionally smart (see: Sony Pictures, Warner Bros., Focus Features) or exceptionally clumsy marketing (see: 20th Century Fox), all culminating in our summer movie marketing report card (with a nod to the Los Angeles Times Anne Thompson, who has written a similar report for years). Read on to see which studios made the grade. WINNERS: SONY: AThe studio, along with its Columbia division, impressed this summer-it won the nostalgia war in positioning Karate Kid as more than a retread. It also did a good job building buzz for Salt, the Angelina Jolie action thriller that capitalized on the stars name above the title. (Not to mention rolling out an online game that was arguably more popular than the movie.) Add to that the surprise smash of Adam Sandlers ensemble comedy Grown Ups ($158 million domestic gross alone), the distinction of making Will Ferrell funny again (The Other Guys is on pace to be his highest-grossing movie in over three years) and the relaunch of Julia Roberts career as a leading lady (a solid $23.1 million opening for Eat Pray Love) and youve got the only major movie house without a single flop on its slate this season. PARAMOUNT: B Seemingly no expense was spared to get the summer movie-hype machine going with Iron Man 2, as the studio and partner Marvel Entertainment roped in 11 marketing partners that led to a $100 million marketing bonanza. Though the sequel ultimately underperformed its predecessor, its safe to blame lukewarm word-of-mouth and not a lack of awareness. Paramount also weathered the spotty track record of director M. Night Shyamalan and some of the years worst reviews to turn The Last Airbender into a surprise hit by playing up the films special effects and toning down the cartoon adaptations controversial (read: non-Asian) cast. WARNER BROS.:A (FOR INCEPTION); C (FOR EVERYTHING ELSE) There was no hiccup in Warners marketing behind Inception, even if all it had to do was say

Christopher Nolan and Dark Knight. While the film was not shot in 3-D, Warner kept the focus on the dreamscape and not the story, and it smartly let the fans do the talking. Even the PR was handled smartly, with Nolan and Co. keeping mum on some of the films most alluring Howd they do that? details. And yes, Sex & the City 2 might have been a bloated mess, but the marketing strategy, like that of Iron Man 2, was to excite the fans from two years ago. Still, that doesnt excuse costly bombs like Jonah Hex, Splice and the artfully titled Cats & Dogs: The Revenge of Kitty Galore, which somehow cost the studio a reported $85 million to produce. SUMMIT: B+ The Twilight Saga: Eclipse, like many tentpoles, might not have needed the marketing support that went into it (including returning partners such as Volvo, Burger King and Nordstrom), but the studio has to keep its franchise alive amid a lot of vampire competition (and possible vampire fatigue). Alternately, Summit had a very quiet success on its hands with Letters to Juliet ($52 million), offering the growing base of moviegoing teen girls something more than only bloodsuckers. FOCUS FEATURES: A Kudos to the Universal Pictures boutique for rolling out two crowd-pleasers during the summer, the documentary Babies (which was supported by the largest promotional program ever for a documentary, with 10 marketing partners) and the years biggest indie hit, The Kids Are All Right.

LOSERS: UNIVERSAL: A- (FOR DESPICABLE ME); C (FOR EVERYTHING ELSE) Starting off its summer slate with the years biggest bomb, MacGruber, meant things could only get better for Universal, right? Not quite. Robin Hood wasnt marketed to look like anything but a Gladiator-esque take on the same old story; Get Him to the Greek performed OK for a mid-priced comedy but failed to surpass its predecessor, Forgetting Sarah Marshall; while Charlie St. Cloud proved that Zac Efron doesnt have many fans outside of High School Musical. Then theres Scott Pilgrim vs. The World, swollen with hype and an estimated $100 million production and marketing budget, which debuted to a middling $10.6 million. Only Despicable Me outperformed expectationsand by a landslide, as its on pace to bank a half-billion in grosses for the studio globally. Thank marketing partners such as Best Buy, which chipped in for its first theatrical in-store promotion. 20TH CENTURY FOX: C Fox should really avoid the 80s at all costs. Reboots of The A-Team ($76 million) and Predators ($50 million) flopped, while Tom Cruise vehicle Knight & Day ($74.8 million) was apparently marketed so poorly the studios own marketing chief, Tony Sella, told the Los Angeles Times he took the blame for obscuring the movies star in his advertising. Even Ramona & Beezus proved to be the exception to the family-friendly rule this season, perhaps because the Beverly Cleary adaptation was about 30 years too late for some fans of the books.

LIONSGATE: B As Carl Icahn looms over the studios balance sheet, some major marketing opportunities were missed in selling Katherine Heigl-Ashton Kutcher vehicle Killers as something more than a bad version of Mr. and Mrs. Smith (where was Ashtons Twitter feed?). The Expendables performed strongly during one of the most competitive weekends of the summer, but the majority of the films awareness goes to Sylvester Stallone and his mammoth casts PR appearances than any particularly strong play from Lionsgates marketing team. DISNEY: C+ Sure Toy Story 3 now bears the distinction of being the highest-grossing animated movie of all-time but thats a) because of inflated 3-D ticket prices and b) thanks in little part to the marketing, seeing as its a huge Pixar franchise with a built-in fanbase. Elsewhere, the $200 million epic Prince of Persia couldnt translate its video-game success into a domestic hit ($89 million), though its performing well overseas, and Fantasia spinoff Sorcerers Apprentice couldnt buy enough sponsored tweets to get good buzz, settling for a $57 million take thus far. Looks like new studio chairman Rich Ross and new marketing chief MT Carney have their work cut out for them. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 Why P&G sought small over scale in TV strategy for latest Pringles launch; Marketer deliberately casts narrow consumer net in choosing startup late-night host Jake Sasseville to promote its brand of Xtreme crisps

BYLINE: BRIAN STEINBERG SECTION: NEWS; Pg. 0002 LENGTH: 725 words

Procter & Gamble could have gone with a lot of late-night hosts to promote its Pringles Xtreme crisps-Jimmy Kimmel, Jay Leno, David Letterman or Conan OBrien. But it chose instead Jake Sasseville. Yes, the nations largest advertiser is putting some of its ad dollars into a relatively tiny startup latenight program, Late Night Republic With Jake Sasseville that launched earlier this month on 75 CW, Fox and MyNetwork stations. While this may be just an incremental step for P&G, which spent $2.7 billion on media time in 2009, according to Kantar Media, its actually a meaningful one for advertisers that traditionally use the boob-tube to reach the biggest audiences possible. In fact, more advertisers are thinking small when it comes to using TV. Theyre increasingly less concerned with swinging for the fences, lining up ads against American Idol or NCIS or Dancing With the Stars, where their commercials are just one or two among dozens, and instead linking up with less-prevalent programming venues where their ads can soak up a greater amount of attention. Procter has aligned itself with Mr. Sasseville, who at 24 years old, is in the third phase of a moderate professional TV career. Late Night Republic features Mr. Sasseville in an assortment of odd situations, like trying to talk to actor Michael Ian Black while the celebrity is also in the midst of doing a radio interview or encountering a group of people blowing bubbles in Times Square. One show included a scene of Mr. Sasseville wearing an odd crown made out of cylindrical cans of Procters Pringles Xtreme potato chips. He urged viewers to take part in a create a video sketch contest that could win them a trip to New York City thanks to a sponsorship by the snack. The idea is having fun, creating an environment of fun that will appeal to viewers, said Mr. Sasseville, and helping advertisers take part in it. Most advertising had traditionally been done, even on the late-night shows, at arms length. Mr. Sasseville, however, might be in more need of commercial backing than his venerable competitors. Hes been on the air in several different forms, first using local access TV in Maine to put on a show when he was 14. After selling his late-night programs to Fox TV stations in Maine and New Hampshire, he tried running a show called The Edge on ABC affiliates in 2006 and 2007. From Procters point of view, Mr. Sassevilles program appeals to people more likely to try its small Xtreme line of Pringles chips, which come in flavors embraced by younger consumers-Blastin Buffalo Wing and Screamin Dill Pickle, for example. P&G has used print ads and coupons, but not TV until now, said Douwe Bergsma, North America marketing director for Pringles. The Pringles ad team found a level of freedom and a level of flexibility that was much higher than the

norm, said Mr. Bergsma. At more established shows we have lawyers to talk to, but with Mr. Sassevilles show this is much more of a grassroots co-creation, and were getting more than I expected. Mr. Sasseville is probably a better fit for Xtreme, which had been in the marketplace for three years with no traditional marketing support, than he is for a megabrand like Tide or Crest, which demand a level of mass reach. Xtreme accounted for about $16.2 million in sales at groceries, convenience stores, drugstores and mass-market retailers excluding Walmart through July 11, according to SymphonyIRI. The overall Pringles brand accounted for $404 million in sales. Other marketers may find they get more by choosing emerging programs, rather than getting in line to advertise on the most-watched shows. Unilever and BMW, for example have done interesting things (such as running old commercials) with AMCs Mad Men series. The show reaches just around 2 million people with each first-run episode. Of course its cheaper to do such small deals-P&G wouldnt comment on what it paid for Sasseville but media buyers suggest its likely a fraction of the $11,000 to $35,000 that a 30-second spot would cost on the major late-night shows. But marketers also get more room to roam when they agree to appear in lower-rated content. You can be a bigger fish in a small pond, said Frances Page, VPdirector, branded entertainment, at RJ Palmer Entertainment Media. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 23, 2010 Pepsi Max drops the diet, aims to rekindle cola war; In its third bid to establish brand identity in U.S., Max tries new position-and takes poke at Coke

BYLINE: NATALIE ZMUDA SECTION: NEWS; Pg. 0001 LENGTH: 637 words

Pepsi Max is hoping the third times a charm. Since launching in the U.S. in 2007 the product has undergone a name change, packaging updates and two separate relaunches that have confused its brand identity. Last year, it attained only a 0.4% share of the U.S. carbonated soft-drink market, according to Beverage Digest, compared to 1.7% for the more firmly established Coke Zero. Now Pepsi Max is pursuing a positioning it hopes will finally replicate its success overseas: Comparing itself to the other guy. To be fair, neither Pepsi Max nor Coke Zero has had an easy time navigating a full-flavored, nocalorie soft drink segment aimed at drawing more men to their franchises. As such, Pepsi has been on and off the diet kick in its labeling and even Coke changed its early pitch from a general Everybody Chill to focus more on the calorie-free aspect of the beverage. It was a learning lesson, said CocaCola spokeswoman Susan Stribling. Theres definitely some baggage in the word diet. It focuses on whats not in the product vs. whats in the product, said Lauren Hobart, chief marketing officer of sparkling brands at PepsiCo. In 2007 PepsiCo, initially, poured as much as $55 million into marketing Diet Pepsi Max as a cross between a cola and an energy drink with the Wake Up, People! campaign from BBDO, New York. Some two years later the brand shifted gears, dropping the word diet from its name, though it continued to promote itself as the diet cola for men in a Super Bowl campaign dubbed, Im Good from TBWA/Chiat/Day. Ms. Hobart said she was unable to comment on the thinking behind those campaigns because she was not working on the brand at the time but said, When youre launching a new brand, you sometimes have to iterate the position to nail whats going to get your message out in the clearest way. She added: We have a crystal-clear positioning now. That positioning-Zero calories, maximum taste-drops the word diet from its messaging altogether. Not having diet on the can, the challenge is on us to communicate that it also has zero calories, Ms. Hobart said. As part of its effort to do that, Pepsi Max has revived a 1995 spot that shows a Pepsi driver and a Coke driver sampling the competition. In the new spot, Coke Zero and Pepsi Max are pitted against one another, with the Coke Zero driver sampling and enjoying a Pepsi Max-before he realizes the rival driver is filming him for YouTube. Ms. Hobart said that consumers should expect to see the

playful rivalry come to life in future executions. ? We love that its lighting a fire in the cola wars. Coke, for its part, couldnt resist zinging its competitor when asked about the campaign from TBWA/Chiat/Day for Max. Clearly Pepsi was looking for a rising star to appear in their latest commercial when they chose to feature Coke Zero, said Ms. Stribling. Were actually pretty flattered. Its no mistake that Pepsi Max has launched a comparative ad campaign. After all, its rival in Atlanta has carved out a nice business for itself in the zero-calorie, full-flavor category. Coke Zero, introduced in 2005, has proven to be one of the most-successful product launches in the companys history. It is now the 12th largest cola brand in the $73.9 billion U.S. carbonated soft-drink market, according to Beverage Digest, more than four times larger than Pepsi Max. Still, theres plenty of money to be made in the category. As consumers become more conscious of their waistlines and colas struggle to maintain their place in Americans diets, zero-calorie, fullflavored beverages like Pepsi Max and Coke Zero could represent a huge opportunity. Though [the new advertising] will help Pepsi Max, I dont think it will hurt Coke Zero, said John Sicher, editor and publisher of Beverage Digest. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 27, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 9, 2010 RECALL AND THE MEDIA SECTION: NEWS; Pg. 0020 LENGTH: 183 words

News stories containing the word recall are at by far their highest level this year since the six years Google Trends has been tracking news stories. The Google Insights index for searches on the word recall so far in 2010 is at its highest level in the U.S. since 2007, when a massive pet-food recall linked to a tainted ingredient that killed at least dozens of pets drove the biggest spike ever in the index, which goes back to 2004. The search index for recall is running 66% ahead this year of its level for 2009 and 137% ahead of 2008, though still about 14% below the record year of 2007, when search was driven by widespread recalls of pet food and toys from China found to contain lead. Data from Infegys Social Radar show social-media mentions of recalls have roughly doubled from their levels two years ago to around 200,000 monthly by July. Safety or recall issues carry unique currency in terms of word-of-mouth pass-along, said Nielsen Co. exec VP Pete Blackshaw. People feel theyre helping one another by spreading the news.

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Advertising Age August 9, 2010 Are marketers hiking ad spend at expense of product quality?; Rising recalls and cost cutting at major companies threaten to undermine decades worth of brand messaging BYLINE: JACK NEFF

SECTION: NEWS; Pg. 0001 LENGTH: 1036 words

For decades, the focus of many companies has been taking cost out of their products, often to invest in marketing and always to increase profit. But a series of high-profile quality failures and accidents this year at titans like BP, Toyota and Johnson & Johnson, along with a growing number of lower-profile recalls, shows crises can destroy brand equity in days that takes years to build. It all raises the question of whether efforts to cut production costs have gone too far and whether marketers would be better off putting more money back into quality control-even if it means spending less on marketing. For years the focus of R&D spending has been mainly on taking cost out of the products, said Bernstein analyst Ali Dibadj, who has seen an unmistakable focus in squeezing cost out of products among food and personal-care players alike in the past decade, both in his work as an analyst and previously as a McKinsey & Co. consultant. Much of the impetus for that effort has been freeing funds for marketing, he said. But all that investment in marketing to build brands is for naught if it leads to recalls that sap share and destroy brand equity. Cost cutting probably has gone too far in many cases, he said. If a political operative like Karl Rove were devising a plan to undermine brands by attacking their strengths or selling points, he could hardly have done a better job on BP, Toyota and J&J. BP, whose five-year Beyond Petroleum campaign sought to position the brand as the greener alternative among oil companies, finds itself tarred for years as the firm behind the biggest oil spill ever. Toyota, a brand built on quality and reliability, has recalled 9 million vehicles since October, along with luxury sibling Lexus, prompting investigations and lawsuits charging it tried to cover up rather than fix problems. And J&J, a company that built a sterling reputation for itself largely through its response to cyanide poisonings of Tylenol capsules in 1982, now faces growing criticism and a federal grand jury investigation over its handling of far lesser problems with Tylenol and other drugs. Among the allegations is that J&J waited as long as two years to admit or address some quality problems and sent consultants in the guise of shoppers to buy all packets of Motrin suspected of releasing too little active ingredient rather than issue a recall. Toyota and BP both lost ground in their industries in Brand Keys Customer Loyalty Engagement Index rankings following their crises-Toyota slipping one place to second, BP slipping from first to seventh. The deeper problem for J&J, however, is inability to keep shelves stocked with product-something that will continue well into 2011 as it works to get its Fort Washington, Pa., plant running again and FDA approval for a yet-undisclosed remedial plan. One executive familiar with the industry termed J&Js problem as forced trial of competitors products, which you never want to do. Its unclear how

many consumers or retailers will come back once the company has the products to fill the pipeline again. Familiar with recalls himself on two package-goods brands in recent years, the executive said they were likely the result of two factors-manufacturing executives pressured to cut corners to control costs and the somewhat related trend of outsourcing production to China, which makes quality control harder. The J&J recalls have played a major role in rekindling growth of private label for household, personal care and OTC drugs that had flattened last year. Since March, private-label shares in those categories have surged a half percentage point to 14.4%. Private label in OTC drugs have led that resurgence, up 3.6 points from a year ago to 27.1% for the four weeks ended July 10, according to Nielsen data from Sanford C. Bernstein. Toyota and BP had each stood out as leaders in profitability or cost control in their businesses prior to their well-publicized problems. But they and other companies involved in recent recalls or safety breakdowns all deny-both publicly and for this story-that cost cutting led to their recalls or accidents. Our commitment to safety and reliability is higher than ever, Toyota said in a statement. Improved quality and reduced cost go hand in hand. The best way to reduce costs is to improve quality. In other words, as you improve quality it means less downtime on the line, less rework, etc. Reducing costs, which is a focus for all automakers, does not automatically reduce quality. And in an interview with CNBC last month, incoming BP CEO Bob Dudley said operating margin, not gross margin that would reflect spending on oil platforms and drilling, were where the company had really gotten its profits up. In congressional testimony in May, Colleen Goggins, J&Js worldwide chairman for consumer products, said I believe at the Fort Washington plant [currently shut down and the focus of most of the companys quality issues] our head count is basically flat. I do know that between 2006 and 2009 we increased our spending 17% and we increased it again this year. What she didnt mention was that J&J purchased Pfizers $4 billion consumer-health-care business in 2006 and consolidated or added production for Benadryl and Zyrtec products from that deal into the Fort Washington plant starting in 2007. J&J set a target upon announcing the deal to generate $600 million in annual cost savings by this year-when, ironically, serial recalls have led to a loss in annual sales of the same amount. Donald Kay Riker, a consultant with On Point Advisors and publisher of the OTCProductNews.com blog, believes cost cutting and integration of the Pfizer brands may have helped lead to problems for J&J. He also believes the low status of quality-control executives may be playing a role in rising drug recalls generally. The emphasis on marketing and [ad] spending and the attention that marketing gets from senior management at any company is far and away more important than not just R&D, but also the quality function, Mr. Riker said. [Quality] is the orphan function. Its rarely represented in any boardroom

setting unless theres some emergency. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 13, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 9, 2010 SIMON WANTS YOU TO SPEND MORE TIME HANGING AT THE MALL; Retail landlord uses social media, technology to foster a community experience for shoppers BYLINE: JENNIFER ROONEY SECTION: NEWS; Pg. 0010 LENGTH: 1052 words

Mikael Thygesen renounces the death of the mall. As he should: Hes chief marketing officer of Indianapolis-based mall operator Simon Property Group and president of Simon Brand Ventures. In this age of social media, online transactions and virtual recreation, the mall still exists, he argues, as a place where people can engage in the physical world-eating, relaxing, escaping and, yes, shopping. His job is to market that experience, for the sake of Simon and its tenant retailers. Simon Property Group owns or has an interest in 380 properties in North America, Europe and Asia. Mr. Thygesen oversees marketing and consumer-related ventures at Simon, which in the spring unsuccessfully offered to buy out bankrupt competitor General Growth Properties. What do you say to people who say the mall is dead?

Our performance speaks for itself. Weve grown our business substantially over the last decade. Over the course of the last five years, maybe 10 years, theres been a lot of development of retail in this country, a lot of it marginal development, and whats happened with the recession is theres been a significant retrenchment, flight to quality, and were seeing retailers come to us and say, Were not particularly pleased with the experience we had with the strip center down the street; wed rather be back in the mall because we know youre going to have traffic, you market your centers unlike other retail locations, you actively market and support the centers, and theres a unique value proposition there thats difficult to duplicate outside our walls. What kinds of marketing partnerships do you have with tenants? We executed over 11,000 events last year-including grassroots events that we do on a local basis, mall by mall, specifically with the objective of connecting with the local community, driving traffic to our centers and providing opportunities for the retailers to step out of their stores and integrate into these events and ultimately drive traffic into their stores. It might be a community event, a fair, an expo, a seminar, a celebrity appearance. One of the unique points of difference for our platform vis-vis any other retail platform is that we are part of the community. We have folks who spend on average 82 minutes in mall per visit. Theyre not spending 82 minutes running down their list of items they need to take care of like they do in a supermarket. They go to enjoy an afternoon with their friends, enjoy an afternoon with their family, shop. They view the mall as a destination in and of itself, an opportunity to be entertained, to see whats new and different. Our retailer showcase is an opportunity for our retailers to provide offers and promotions that we then aggregate by mall and make available to our consumers on a mall-by-mall basis. We do it online, we do it on mall with brochures and fliers. Were going to be distributing via text, via email, via mobile-phone applications these offers to our consumers. Can and should the mall be an ad medium? The mall is an advertising medium. Over the last nine years weve significantly expanded and standardized our media offering to brands and marketers. Our value proposition is we have 100 million-plus unique consumers visiting our malls 2.8 billion times a year. We have a standardized media platform that we make available to our advertising partners and we have a consumer that we know from research is predisposed to messaging on mall. The advertisers that come into our mallsome of those reside in our retailers, some are retailers themselves, a lot of them just want access to the 2.8 billion visits and their product may not be sold on mall but they want that exposure. And were able to take the media element, like sky banners, which is our proprietary, large-format static offering, theyll take that and theyll combine that with activation on mall. So there might be a car display coupled with banners that are used to promote the car itself. We might have test drives out in the parking lot. So its an out-of-home medium and then were able to combine it with the experiential component of what we offer to our brands. To what extent are online malls like Amazon challenging you? Clearly theres business to be made online. We recognize and understand that, but its not experiential; we entertain as well as provide retail options for our shoppers, we have dining options

that are very much anchored in the physical world, and you combine those things, plus the fact that to a large degree shopping is a tactile sport, just the idea of spending a morning with your girlfriends, talking, laughing, having a wonderful time-that cant be duplicated online. How has the recession impacted Simons business/marketing model? Its been a difficult two years. This is a time for us to cement our relationship with our retailers and make sure that they understand when times are tough, weve stepped up our game and weve done whatever we can do to support their efforts and make the most out of a difficult situation. Were really focused on how to leverage technology going forward. Part of our thinking is we need to leverage technology to enhance the overall experience on mall, to drive sales in our retailers. Weve hired a VP-digital strategy named Patrick Flanagan. His role is to really spearhead our efforts from a tech standpoint. Mobile is a key area of focus for us; social media is another area of focus for us, extending our retailer showcase, making those offers available to consumers on their phones. How are you using social media? We launched last year a social-media initiative and the purpose is to create a forum for our shoppers to not only get information for whats happening on mall, events, promotions, new store openings, but also to share their experiences, [through] Facebook primarily, Twitter secondarily. Were working on creating that engagement with consumers and encouraging them to provide content to share their experiences, to talk about the deal that theyve found, to talk about the events that theyve participated in. The more we get people talking about it, the more it reinforces what were trying to reinforce to consumers, that this is a unique venue that is unmatched in the physical world. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 13, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age

August 9, 2010 BP WALKS FINE LINE IN ATTEMPTS TO RESTORE ITS BRAND SECTION: NEWS; Pg. 0014 LENGTH: 388 words

The oil spill in the Gulf may finally be under control, but BP and the oil industry still have a lot of cleaning up to do when it comes to brand image. BP in particular is caught in a tough business spot. Aside from rehabilitating its tarnished name, the company must think of the thousands of small retail businesses that distribute its product as well as the communities along the Gulf Coast affected by the spill-and it must do so without coming across as cynical, manipulative or dishonest. Case in point: The BP Amoco Marketers Association is considering the possibility of dropping the name BP for Amoco, a company BP acquired in 1998. Who can blame them? These retailers say theyre losing significant business at the pump as consumers steer clear of BP. Not only would this move ditch a sullied name, it would have the added benefit of switching to a brand that sports red, white and blue. Amoco is actually derived from American Oil Co., but wed bet good money that the average consumer doesnt know that. Of course, the right marketing campaign could quickly remind consumers of that American heritage. But heres the rub. Such a renaming scheme carries with it some risk. If the company quietly shifts to Amoco, perhaps the American consumer will make note of it for a while and then go back to making gas-purchasing decisions based on price. But if BP-or the BP Amoco Marketers Association-overplays its hand, how soon before the knives come out? There is still a great deal of ill will toward the company, and thats not going away any time soon. Precisely because the average consumer doesnt realize Amoco is a BP company, when that information is revealed in the media, its that much more likely to seem like BP is hiding something. And, in fact, it is. Its trying to hide its tarnished name behind a subsidiary brand that isnt attached to a massive oil spill. Again, the company and its retailers are picking from a couple of unattractive options. The better move in the long run may simply be to start rehabilitating the BP name in as transparent a manner as possible. The best move? If the switch to Amoco is made, be honest. Play on the sympathy Americans have for struggling small-business owners.

And go easy on slick flag-waving marketing campaigns. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 13, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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Advertising Age August 9, 2010 AD AGE PROMOTES THREE EDITORS SECTION: NEWS; Pg. 0003 LENGTH: 257 words

Abbey Klaassen was promoted last week to editor of Advertising Age as part of a broader reorganization of Ad Age editorial management. Ms. Klaassen had served as executive editor since December. Judann Pollack has been promoted to executive editor from managing editor. Ken Wheaton was named managing editor from assistant managing editor. With Abbey, Judy and Ken assuming key editorial leadership roles at Advertising Age, we have never been better prepared to help our readers understand and deal with the complexities of the advertising marketplace as well as to formulate new services to help readers do their jobs more effectively, said Rance Crain, editor-in-chief of Ad Age and president of Crain Communications Inc. When we named Abbey executive editor in December it was with full intention of formally naming her editor within the year, said Allison Arden, VP-publisher.

Ms. Pollack has been with Ad Age since 1985, and has had editorial positions between New York and Chicago, including managing editor of Ad Age International, New York deputy bureau chief and Chicago bureau chief. She was named managing editor in 2000. Mr. Wheaton joined Ad Age in 2000 and has served a variety of roles, including copy editor, features editor and, most recently, assistant managing editor. Hes also the author of the novel The First Annual Grand Prairie Rabbit Festival. Ms. Klaassen joined Ad Age in 2005 and was Ad Ages digital editor until her promotion to executive editor in December. Copyright 2010 Crain Communications Inc. All Rights Reserved. LOAD-DATE: August 13, 2010 LANGUAGE: ENGLISH PUBLICATION-TYPE: Magazine JOURNAL-CODE: aa

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