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Delshad Irani
For purely journalistic integrity, we made the call to 180030000123 from our mobile. The phone rang and automatically hung up after two rings. In return for our missed call we received 34 minutes and 31 seconds of manoranjan (en-
tertainment). We held on despite True Caller telling us that “927 people reported this as spam.” During that call we heard Bollywood songs, some sher aur shayri and jokes. We got a quick English lesson and tutorials on how to get a Closeup smile and the best-ever nikhar (glow) with a ̀ 5 Fair & Lovely pack. We learnt how to avoid tummy aches by washing hands regularly with Lifebuoy and we discovered Surf ’s magical stain-removal powers. We also got a crick in the neck. That’s Kan Khajura Tesan or “centi-pede station” for you, the FMCG major HUL’s gen-erously lauded and awarded campaign.
KKT is essentially what we call missed-callver-tising. Make a missed call and receive a call with free capsules of entertainment that includes devo-tional songs and Bollywood item numbers featur-ing Yo Yo Honey Singh sometimes. It’s mobile en-
tertainment-on-demand that doesn’t care if you are an Airtel or Idea subscriber. But Kan Khajura Tesan is, in fact, a medium to transmit HUL brand communication to places hard to penetrate and consumers difficult to reach. Content on KKT is generously interspersed with advertising and pro-motional messages from HUL brands like Lux, Clo-seup and Fair & Lovely, among others.
Yes We...Continued on pg2
HUL wowed award juries and rivals alike by creating the Kan Khajura Tesan, a mobile based radio station for rural India, heavily underwritten by advertising. And now it’s expanding across the country bringing even other brands on board. BE explores HUL’s new role as media owner
Death By Social Media
KKT – The Sequel
CASE STUDY 1JUNE 12 Devorise Dixon, an American citizen, claims he was served a deep fried rat instead of chicken at a California KFC outlet. He posts a picture on Fa-cebook that goes viral across the globe. KFC de-nies the allegations, says it looks like a hoax.
JUNE 16: KFC India posts a Facebook message: “KFC takes customer claims very seriously, and they are in-vestigating this matter.’
JUNE 22: A DNA test confirms the product was chicken and the incident was a hoax. KFC asks Dixon to apologise.
Even as KFC’s ‘fried rat’ finally turned out to be a canard, for a good 10 days the brand was roasted on social media. But think of the damage done to the brand’s equity, and sales, in those 10 days. KFC’s spokesperson in India was not avail-able for comment.
“Social media has always been a word-of-mouth medium, and where there is word of mouth sometimes there are half-truths or hoax-es,” says Rajiv Dingra, founder & CEO of WAT-Consult, a digital and social media agency.
Brands need to have an agile crisis manage-ment team in place along with a 24/7 social
monitoring team to ensure that instances of mischief are nipped in the bud before they bloom into a full-fledged crisis, reckons Din-gra. “Brands in India have a long way to go on this front.”
Ankita Gaba, a social media consultant, says consumers do not always use the power that so-cial media gives them to express themselves re-sponsibly. “More often than not, they utilise the medium to shame a person or a brand, what can be called as social bullying.” A brand can easily become a victim of this public shaming.
Gaba, however, feels KFC was late in respond-ing to the crisis. “A late response always makes
people feel that the brand is a culprit,” she says. While a
brand is burdened under the pile of ignorance, protocols, nervousness, bu-reaucracy and corporate policies, social media makes the news spread like wild fire, adds Gaba.
If KFC couldn’t contain the wild fire, back home Mother Dairy acted quickly to douse the spark.
From Flash Mob...Continued on pg2
How to Handle a Crisis…1 Be quick in response
2 Apologise if at fault or clarify if on the right side
3 Don’t get offensive or defensive. Communication
should be assertive.
4 Avoid blame games
5 Tap evangelists and loyal customers to spread
positive words
6 Get top management to respond. It shows
accountability
1. Plan for a Crisis:
While crisis may differ from case to case, there are
some common issues which one can plan for, such as:
a. Wrong Post Issue: What happens when something
that’s not supposed to be tweeted gets tweeted?
b. Offl ine Issue Turns Online: What happens when an
offl ine issue turns online?
c. Customer Mobs: What happens when bad service
leads to online customer mobs?
2. Prompt Honesty and Transparency
Social media is where it
takes only one person to
call your bluff. So it’s best
to be honest. Running
away, staying silent and
being defensive only
adds more fuel to fi re.
3. Monitor 24/7 365 days
It’s all about catching a
spark so you don’t have
to deal with a fi re. Most
brands unfortunately
don’t invest in even
eight hours per day of
tracking
4. Be Social Not Formal
While one doesn’t need
to be casual, being too
formal too can come across
as cold. Add humour
wherever necessary to
diffuse the situation. A
formal press release kind
of response always fails
5. A Plan Is a Guide, Play By The Hour
While you may have
a 24/7 monitoring
team and all strategies
in place, a plan is just
a guide. One should
always play by the hour
when it comes to crisis
Dos and Don’ts on Social Media Management…
Ravi Balakrishnan
In 2010, 18 months after it began operations, BBDO India won its first Cannes Lion, a silver in PR for Gillette. The news had bare-ly sunk in when chairman and
creative chief Josy Paul received a text from a creative leader at a ri-val shop. The message was decid-edly snarky: Paul’s competitor claimed he wanted to hire BBDO to do some PR for him. It was the sort of careless dismissal and mockery that would accompany a lot of the agency’s work over the next few years. Paul’s peers would frequently, and in tones laced with irony and sarcasm, refer to him, as “India ka David Droga” (alluding to advertising wunderkid and founder of independent Droga5). Paul’s mantra of “acts not ads” —creating communication that en-couraged consumer participation instead of passive, old media driv-en TV commercials or print ads — came in for a fair share of rib-
bing, not all of it good natured.It’s unlikely, but a Grand Prix at
Cannes may just silence some of BBDO’s critics. In many ways, it’s a perfect win: the topmost trophy in its category (the Glass Lions, introduced this year to award communication that addresses is-sues of gender inequality and prejudice), for highly visible work on an established brand (Whisper sanitary napkins). To say nothing of a Gold for Ariel in the same cat-egory, a Bronze trophy in Media for Whisper and at the time of go-ing to print, a shortlist in Film for a tongue-in-cheek about socially minded campaigns for iCONGO.
For Paul and CEO Ajai Jhala it’s a vindication of an approach that’s powered a lot of BBDO’s work. When they set up the agency in 2008, they had a lot in common as alumni of Mumbai’s St Xavier’s
college followed by long stints at Lowe. The two were clear they didn’t want BBDO to be business as usual. Jhala says, “People want-ed to participate and be heard. There was a conscious decision that we had to find a narrative which was how the acts came in.” Paul’s inspiration stems back to his first day at college when the sky over the quadrangle at St Xa-vier’s was darkened by flying sheets of paper cascading down from a few floors above. He picked a page up to find a political screed of some sort by some of the senior students. The lesson he was left with was about the power of ac-tion and its ability to draw in vol-unteers, even unwitting ones.
Chance and encouraging cli-ents had a role too. Before a meet-ing with Aviva, one of the agen-cy’s first clients, Paul and Jhala
realised the world didn’t need yet another insurance brand but cer-tainly required education since as Paul puts it: “education is in-surance.” The result: a campaign that aimed at giving an education to underprivileged children.
In a presentation to Gillette, what swung the marketer was not an image of a woman shaving a man. This was the starting point for the five year long Women Against Lazy Stubble campaign. Says Paul, “I know it sounds weird given how people talk about process, but honestly both of these ideas were a spontaneous reaction to the world.” Jhala adds, “The brief when you do a regular campaign is “who’s my target?” But when you create a movement, you treat human be-ings as social people with a circle of influence rather than targets for the brand to attack. It leads to more meaningful conversation.”
The Acts...Continued on pg2
Grand Prix Winners!
BB
DO INDIA
How BBDO won big by doing advertising that went beyond advertising
BH
ARA
T CH
AN
DA
Facebook, Twitter et al, once considered super-effective ways to build brands, are now at the forefront of bringing them down. By Rajiv Singh
KKT Stats:KKT’s predecessor was the Wheel missed call
campaign on All India Radio
First went live in Bihar, then Jharkhand and
Uttar Pradesh, followed by
MP and Rajasthan. KKT is Bihar’s most
popular radio station.
Average listenership is 22 minutes
per month
Reaches out to 35 million subscribers
across India
Till date, 900 million minutes of engagement
with consumers. 450 million impressions in
the last 15 months.
To generate greater awareness of Kan
Khajura Tesan and reach more subscribers,
the company tied up with the big Bollywood
releases of 2014. Content around the launch
of ‘Singham Returns’ and response to it
helped HUL set a world record for the most
number of missed calls in fi ve days. That
would be 17 million.
Cannes Lions 2015
ANGRY BIRDS/GOOGLE
THE ECONOMIC TIMES, JULY 01-07, 2015
Product: ETNEWMumbaiBS PubDate: 01-07-2015 Zone: BrandEquity Edition: 1 Page: BEFP User: kailashk0106 Time: 06-26-2015 01:21 Color: CMYK
The Acts Effect
Death By...Continued From Pg1
CASE STUDY 2JUNE 16: The Uttar Pradesh Food and Drug Admin-istration (UPFDA) says it has found deter-gent in one of the samples of milk of Mother Dairy. Social media starts buzz-ing, people start reacting. However, the head of milk, fruit and vegetables section at Mother Dairy insists its product is safe and fit for consumption.
JUNE 17: The managing director of the brand posts a statement on the company’s Facebook page assuring people that the milk is safe and explaining why the collected sample would have never made its way into the fi-
nal product. The issue dies down, doesn’t snowball into a crisis.
“Lead from the front and respond as quickly as possible,” says S Nagarajan, managing director of Mother Dairy Fruit & Vegetable.
Nagarajan was confident that if the is-sue was explained to people quickly and transparently, the damage would be con-tained. And this is exactly what happened. A glance at Mother Dairy’s Facebook page shows that after Nagarajan’s post, people were convinced by his replies and the milk adulteration talks duly died out.
Nagarajan underlines two crucial com-ponents of handling any social media cri-sis: listening closely to the people and hav-ing a team that can be accessible and can respond in an emphatic manner. “Brand reputation is taken care of if one responds quickly.”Mother Dairy’s response was matched in equal measure by Nestle India’s handling of the Maggi crisis. But the re-sults were diametrically opposite as Maggi was pulled out from the market.
Reason: the brand lacked conviction in its communication. It’s not only the speed of your response, but also the ‘honesty’ in it which determines the outcome.
CASE STUDY 3MAY 20: UPFDA finds traces of lead and high per-centage of MSG in samples of Maggi. The brand denies the allegations, says it’s safe for consumption.
MAY 21: Rumours of a Maggi recall flood social media. The brand acts promptly and says all talks of recall are baseless and the product is safe.
JUNE 1:Nestle India says extensive testing reveals no excess lead in Maggi
JUNE 5:Maggi is taken off the shelf but the brand still maintains that it is ‘safe’. Loss of face for the brand and consumer trust gets eroded. Social media is where it takes only one person to call your bluff. So it’s best to be honest, says Dingra of WATConsult. If you know you have messed up, it’s best to acknowledge, accept and apologise. “More often than not this would turn the tide in your favour with appreciation coming your way.” Running away, staying silent and being defensive only adds more fuel to fire, adds Dingra.
Brands, it seems, are learning the hard way to deal with social media.
KKT The Sequel Continued From Pg1
The campaign has its origins in HUL’s need to reach almost 200 million consumers who still live in media dark areas. Especially northern rural terri-tories where traditional media like television, ra-dio and outdoor are scarce and inadequate still and electricity is temperamental, at best. Mobile phones on the other hand are everywhere and with KKT HUL knows exactly who’s tuning in. The program was piloted in Bihar and expanded to Uttar Pradesh, Jharkhand, Madhya Pradesh and Rajasthan. But we called from Mumbai, in case you were wonder-ing. Since its launch in 2013, KKT has acquired 35 million subscribers across the country and vast amounts of data on consumers who have been hard to access and read in the past. The company now has the capability to push personalised content on the platform. Over the past year, the advertiser has tried to build stronger brand association through various activations. For one such activity on brand Lux, the soap of Bollywood stars, HUL invited en-tries from listeners to engage with leading movie stars. They received 24 million calls, of which 14 million were unique, they got 10 million entries and Lux delivered 21 million ad impressions. The brand’s spontaneous awareness jumped by 800 ba-sis points in one month.
Last week, in The Economic Times we wrote about HUL opening up this popular mobile-radio channel to external advertisers ie brands from outside the HUL portfolio. For instance, and strictly for repre-sentational purposes, a jingle for a Godrej brand could play on KKT. Food brands that don’t compete with any Unilever products could advertise there, theoretically. Says Jyoti Bansal, managing director, PHD India, the media agency behind KKT, “In the future we will be able to play ads of non-competing brands on the platform. We’re having conversa-tions with advertisers to see if this is something they’d want to do. They have a readymade platform in KKT.” Some of PHD India’s clients include GSK’s Horlicks and SC Johnson, by the way.
One media agency head, however, is not quite con-vinced that this heralds the emergence of HUL as a media owner. “As a media planner there would be a lot of questions one would need answers to. For starters, numbers like 35 million subscribers are ever-lasting numbers. They’re like Facebook Likes, with that one Like from 10 years ago which still counts. But can we get a monthly break-up of how many people are actually coming onto the platform. What’s their profile? Do they know what to expect or is it blind content? Besides HUL has enough brands to sustain the channel itself. Why is a ̀ 20,000 crore company looking to monetise content and a station like Kan Khajura Tesan?” Then there’s doubt about the more practical aspects such as holding a mobile phone to one’s ear for 15 or 20 minutes straight. (We hear ya!) “It is a mobile at the end of the day, not a radio,” quips an in-dustry veteran. The answer to the first question, however, is 25,000 to 30,000 subscribers per month. To the last — loudspeaker button, that is if the listener has the option be-cause we’re looking at outdated technology here. Or as the official KKT case-study presentation at Cannes Lions 2014 called it, “rudi-mentary technology” aka feature phones. Deepa Geethakrishnan, NCD – HUL, Lowe Lintas, the crea-tive agency behind the campaign says, “Everyday we’re learning more and more about consumers from when they chose to disengage (hang up) and we
learn where to modify content strate-gy.” For instance, they quickly learnt that the way to a villager’s heart in ru-ral Bihar is not through Bhojpuri mu-sic. Rather what works is Bollywood, especially music from 90s movies, the era by many standards considered one of the worst periods in Hindi cinema.
Product enhancement is a continu-ous process. But “there’s a cost to run-ning everything,” says Bansal. The channel is expanding its offering to consumers, it has grown from 15 minute capsules to over 30 minute nug-gets of entertainment, and if they can, to some extent, monetise the content they could create a far more compel-
ling, diverse and interactive offering. In fact, they’re introducing a skip option, not for ads, of course. Be-sides riding on a pre-existing platform beats creating
a replica of KKT as some advertisers, we hear, in-tended to do. “However, everything will stem from HUL’s needs first,” says Bansal. A HUL spokesper-son told us the rationale behind the move when BE reached out to the company. “In the journey of tak-ing Kan Khajura Tesan forward as an ever growing marketing platform we are now opening it up for brands beyond HUL’s own. This will allow the plat-form to grow and help marketers reach out to media dark consumers who were difficult to reach before. The nature of the tie-ups will be on a case to case ba-sis as per the requirement of the partnering brands. We have had a similar approach internally as well through which we have helped our brands like Lux, Closeup, Fair & Lovely use Kan Khajura Tesan to connect with consumers and make a positive impact on their equity.” Surely you knew the company’s in-tentions weren’t of the purely altruistic kind.
Malice in Blunderland…Some social media blunders from across the globe... LG Takes an Apple Bite but…Last September, LG tweeted
from its France account “Our
smartphones don’t bend, they are
naturally curved.” The idea was to
mock Apple’s #bendgate, but the
tweet was sent from an iPhone!
Big Mac Gets TaggedWhen McDonald’s came up with
a new version of its hashtag
#RonaldMcDonald last year, the
clown’s makeover got bashed by
Twitterati
Penalty Corner by Dutch AirlinesJune last year, Dutch airline
KLM tweeted ‘Adios Amigos!’
accompanied by a picture of
an airport departure sign and
a graphic of a stereotypical
sombrero clad man. The tweet
came soon after the Netherlands
knocked Mexico out of the
football World Cup provoking
angry reactions from Twitterati
including actor Gael Garcia Bernal.
The airline later apologised.
US plane on Crash CourseIn response to a female customer
complaint, a photo of a woman’s
vagina with a model plane was
accidentally tweeted by US
Airways last April. The airlines
later deleted the feed and
apologised.
From Flash Mob To Angry Mob
Grand Prix...Continued From Pg1
The ambitions were lofty: to not compete with other ad agencies but with news channels, harness-ing the buzz value inherent in a brand. Paul claims “We’d start on social media on purpose since it stops people from thinking in a conventional box; instead it’s like a river driven by how the conversa-tion can flow.”
More than consumer conversa-tions, many campaigns sparked off industry discussions principally of the off-the-record variety. At least till the Grand Prix (and probably even after), many segments of the industry are not sure if Paul and BBDO are pio-neers at the cusp of a brave new way or creative charlatans doing an excel-lent job of publicising freakish and gimmicky promotions. While the work on Gillette and Visa may not make the favourites list of local ad folk, one undeniable metric of suc-cess is marketers coming back for more. Addressing his critics Paul says their jibes have been fuel: “We can’t be stupidly numb about it. We’ve heard it from our clients who tell us this is what people say about you. People don’t understand and maybe if they worked with us for a month, they’ll change their minds.” He also believes that his competition has missed a trick or two: “There have been better ideas than what we’ve had but they prob-ably stopped short and lived in a pure film world.”
However, it’s not like every piece of work from the
agency has been a genre defying masterpiece, draw-ing masses to swear allegiance to causes and the brands backing them. BBDO has a fair amount of conventional work especially on 7Up. So is there a sense of having to settle when Paul and Jhala have their hearts clearly set on movements? Not quite, say the duo. It finally comes down to the client. Some like P&G have an infrastructure to handle an integrated
approach; others don’t. Paul says about a recent film for Visa, “The joy you feel the first time you make an on-line purchase is a fantastic area for discussion and sharing. So what if it happened to be a 30 second spot? Some-times we may not go the whole hog, but it’s there; a living breathing organ-ism waiting to be tapped.”
The win has at least for the moment catapulted BBDO into the upper eche-lons of Indian creativity, busting the myth of the creative indie versus the protocol bound network company. Strangely enough, none of India’s most creatively celebrated agencies
Lowe Lintas, McCann Erickson and O&M have bagged a Grand Prix at Cannes yet: and it’s not been for the lack of trying on part of the latter two. All these agencies happen to be much older and larger than BBDO. BBDO’s next movement ought to be a little self-serving: getting more business or projects from large clients who’d like their ads served up with a heavy side of acts.
If it hadn’t been for a fairly significant shift in the ways agencies and market-ers behave, BBDO wouldn’t have had a
shot at working on Ariel and Whisper.It’s an indication that some of India’s
biggest marketers don’t feel bound by traditional agency alignments and are unafraid to look further afield for solutions and partners, even if it means engaging other agencies on a “project” basis.
In 2007, when this dubious P of ad-vertising had yet to enter the lexicon, there were a lot of puzzled faces won-dering how Saatchi & Saatchi New York managed to win the Press Grand Prix on Tide, a brand handled by Leo Burnett.
But none of this applied when BBDO was called in by P&G. For the record, Leo Burnett is supposed to handle Whisper in India and Ariel was with L&K Saatchi & Saatchi when we last checked. Accord-ing to Josy Paul, BBDO landed these projects purely because P&G was im-pressed with its work on Gillette (which shifted to Grey last year following glob-al realignment): “There was a good feel-ing about our ability to do movements and our understanding of their struc-ture and processes.”
He also believes the agency’s focus on movements gave it a chance on busi-nesses that were otherwise out of reach: “When people have a movement discus-
sion, the transactional nature of the brief changes. People start talking about what can be done to increase particular parameters of equity.”
It also helped BBDO that Sharat Ver-ma who used to be its client on Gillette moved as associate marketing director – fabric and home care at P&G, thus making it easy for the agency to work on Ariel.
If nothing else, this is a wakeup call for incumbents everywhere. Anybody who the client believes has a better idea is a threat; not just traditional foes like rival agencies who are aligned to the brand in other markets or ex-CEOs and creatives with an axe to grind.
Whose Brand Is It Anyway?
The Cannes Journey: BBDO
It’s been an interesting slog for BBDO. The agency has done its share of — to put it politely — obscure work, but the
bulk of its big wins have been for au-thentic campaigns and brands. Josy
Paul and Ajai Jhala hold forth on their most consistent winner so far, Gillette’s Women Against Lazy Stubble (WALS):
Josy Paul: We felt there was a buzz for the two months we first ran WALS for Gillette, in which we got women to persuade men to shave more frequent-ly. There was even a counter group
called MAWALIs which was men against women against lazy stubble! They be-lieved we were intruding on their fun-damental rights and even attacked one of our events.
The first year, we sent it to the Abby where it won a bronze. I was pissed off since people were talking the same old language. Everyone had grown on an ap-petite of good work but it was time for another language. We entered Cannes since we needed to see what the world thought and the silver was a sign that
okay, a larger jury understands.Ajai Jhala: A lot of the Indian jury was
working with a glossy view of the world. WALS had authenticity and couldn’t be glossy. Personally I believe when cultural archaeologists try to un-derstand Indian communication there are thee milestones. The first was Liril; the second the Indian emotion of Cadbury and the humour of Fevicol and the third is WALS. After that, the way you did integrated communications in India changed
YEAR2010 YEAR2011 YEAR2012 YEAR2013 YEAR2015The work: WALS - Gillette
The award: Creative
effectiveness
Campaign: Shave Sutra
- Gillette
The awards:2 Silver
Campaign: White
collar hippies (a
travel site)
The award: Bronze
The work: You Shave, I Shave - Gillette
The award: Bronze
The work: White
collar hippies
The award: Bronze
The work: Shave or Crave – Gillette
The award: Bronze
The work: Touch
The Pickle –
Whisper
The awards: Grand
Prix, Bronze
The work: Stick-
It Art – Haiyya
Award: 2 Bronze
The work: Women Against
Lazy Stubble - Gillette
The award: Silver
YEAR2014 NIL
The work: Share
The Load – Ariel
The award: Gold
WHILE THE WORK ON GILLETTE AND VISA MAY NOT MAKE THE FA-VOURITES LIST OF LOCAL AD FOLK, ONE UNDENIABLE METRIC OF SUC-CESS IS MARKET-ERS COMING BACK FOR MORE
KKT @ Cannes LionsLast year at Cannes, Kan Khajura Tesan, along with JWT’s ‘Make Every Yard Count’ for Nike,
salvaged India’s creative reputation when the campaign won three Gold Lions in Media and
Mobile. R Balki, Lowe’s chairman, who has a severe award-allergy, responded from Helsinki
to our calls with; “Awesome!! Ya!! Good for ideas!! It’s a super kickass idea.” Priya Nair, vice-
president at Hindustan Unilever said in our report from Cannes in 2014, “It’s always great to
have work recognised especially in a well-respected forum…Obviously, we are in the business
of business. But while you do that, if the work delights the senses and builds a historical
pathway for others to follow it’s a vindication of being in the right direction. It helps build an
ecosystem of people thinking differently.” Arun Iyer, national creative director, Lowe Lintas,
said; “Winning at Cannes is a good recognition. But this is a bonus; beyond a point we don’t
think about awards.” And after the Bronze Lion bagged in the Creative Effectiveness category
at Cannes this year, Anaheeta Goenka, president - Lowe Lintas, told us, “Effectiveness is the
holy grail.”
Don’t be put off by the barrage of quotes. The point we’re attempting to make is this; just
maybe the key to winning at Cannes is to not make Lions the objective. We’re just saying.
Nonetheless, there’s a time and place for magnanimity. The fact is Lowe recognised the
award-winning potential of KKT early on during last awards season. That’s why the network
commissioned the best case-study experts to work on the campaign entry. For six weeks,
producers in the UK crafted a case study that would enthrall global judges. It’s critical to
note that Indian campaigns often lose out to other “fancier” and more well-packaged entries
because the Indian ad frat severely lacks the depth and expertise to market its entries at
international competitions. At least well enough to nab a gold or Grand Prix.
WE ARE NOW OPENING UP KKT FOR BRANDS BEYOND HUL’S OWN. THE NATURE OF THE TIE-UPS WILL BE ON A CASE TO CASE BASIS AS PER THE REQUIRE-MENT OF THE PARTNERING BRANDS
Because We Kan
THE ECONOMIC TIMES, JULY 01-07, 2015 2
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Don’t control the user. Give him the controlYour consumer isn’t fully opposed to the idea of receiving brand messages. He likes them, in fact. If you allow him to decide who to receive the brand mes-sage from that is. For example, Tindercreates brand profiles and promotes them globally. Users can swipe right or
left and choose to either subscribe to brand information or reject it outright. So far, they’ve seen 25% swipe right rate. Sure there are people who detest the sight of a brand, especially on a dat-ing site, but the backlash is a lot less than what Sean Rad, the founder of Tinder app, had expected. “Users like matching with their brands. When I
opt in to receive information or to allow a brand to communicate with me, I’m the one in control,” he adds. And that does all the magic.
A picture is worth a thousand dollars of revenueA single image can bring about digital chaos, one that can work in favour of a
brand desperately in need of evolution. New York City based independent mag-azine Paper managed to #Break-TheInternet with one unique picture of Kim Kardashian, shot by celeb pho-tographer Jean-Paul Goude, in order to mend their lopsided revenue growth. They were making 13% of their reve-nues from digital and this one cover
picture on their November’14 issue changed that forever. They crashed Google Analytics for a day and got an applause from big-time competitor Vogue. Brands like Red Bull (Stratos), Dove (Real Beauty Sketches), Volvo (epic split) have done that and benefit-ted from it. What’s stopping you from doing the same?
Being ruthless with your idea is a good ideaSnapchat, a video messaging app where your message gets deleted 10 sec-onds after the receiver has viewed it, is slowly riding the ladder of success. It’s valued at $15 billion, to put it simply. While their team enjoys uncertainty and is pro-risk-taking, it’s also ex-tremely critical of itself. Evan Spiegel, the founder of Snapchat, says, “We’ve only released 1%-2% of the products we were working on. We hold stuff back all the time thinking it’s terrible.” Put-ting your best foot forward. Heard that one? They live by it. So should you.
Your data, now my dataBrands beware! While you’re caught up trying to make sense of big data, getting closer to becoming ‘Big Data Ready’ with each passing tech confer-ence, consumers are growing savvier of its existence and usage as well. The boon of big data is not hidden from them. Sir Tim Berners-Lee (yes, founder of the World Wide Web, that one) says, “Any data on me is more use-ful to me than to anybody else. There’s so much I can do if I have access to my personal data. Track habits, change them, improve upon them and what not. People are increasingly going to demand data on themselves in no time.” So, companies, you do need to be big data ready. But more as a sup-plier and not a receiver.
IdeaVaishakh Jhunjhunwala: The idea of a homosexual couple embracing their true identi-ties with pride, instead of shying away from it, is quite refreshing and shown through a new an-gle. It shows how one step can go a long way in encouraging those around you.
Sohil Karia:At a time when same sex mar-riage is being broadly accepted in the United States, the ad couldn’t have been better timed. The idea is great and spot on. The ad brings about a great sense confi-dence, awkwardness, self realization, acceptance and pride all at the same time through different situations and experiences which for me, was a big win!
Creative executionVJ: The candid moments, the honest emotions and the peppy music all come together to make it a slice of life thought, rather than just a com-mercial ad.
SK:From an execution perspective, the ad was well executed bringing out the message rightly and beautifully. At first glance though, it gave a feeling that the ad was taking a different turn due to certain expressions that depict how peo-ple are judgmental in society but this was well covered by a sequence of events that showed dif-ferent individuals share their experiences.
Effectiveness of the commercialVJ: The commercial, for me, scores high on the emotive quotient. Also, the brand’s seamless in-tegration and association with this movement will be a highly recallable factor, I feel.
SK: Overall, the commercial gives out a positive happy feeling and a sense of pride in being your-self and communicates the message rightly and scores well on those aspects. Where it does fail, is in integrating the brand connect and brand recall. There could have been deeper a brand connect within the same execution or via a dif-ferent concept.
If you had to how would you do it differently?VJ: As they say, if it ain’t broke, don’t fix it.
SK: If it had to be done differently I would have probably changed a few
situations around or taken a different approach. For me, a good brand film is one that has
a good brand connect to it. An ad in which the brand depicts its
human and emotional side. An ad that would showcase how the brand
cares enough to help in making the
change. A good example for this is an ad done by Google + Hangout France on Gay Marriages back in 2013. The ad, which is quite the tear jerk-er was quiet moving for me and had a holistic approach while integrating brand connect. The use for social good of this often baffling newer and newer technology has been demonstrated through the ad beautifully.
“Don’t hang around at the Gutter bar. All you’ll get is cheesy pick-up lines from drunk-out-of-skull Indian ad men (especially the older variety).”
“Every time I asked him to send more people to Cannes like other agencies do, he said, “They’ll regret it, you’ll see.” All I see is them getting more metals than us every ****ing year. I think all of us can write a book on why we’re happy he’s been shown the APAC door at last.”
“Oh! Was the session good? Nice. We were in a team lunch so had to give it a miss. Now we’re going for a walk on the promenade. These sessions will be available online after the festival is over, right?”(Why are you even here, really?)
“Now the Tamil lobby is going to drink up for the rest of the night. This might be XYZ’s last (free) Cannes trip for he plans to quit if he’s not made the CCO after this year. Makes sense to make the most of it, no?”
“Please don’t publish this. And if you do, let me know in advance. I’ll set up a few meetings here and start looking for a new job before your edition hits the stands.”
“Majestic is probably the finest hotel in the whole of South of France. From what I know, only two people from Ogilvy have stayed there — Tham Kai Meng and Piyush Pandey.”
“Most of us took either Lufthansa or Emirates. I think Piyush is the only one who took Swiss.” (It was the most expensive airline to travel from India to Nice.)
“You think Cannes is a holiday for us. We’re constantly answering our mails. If there’s one breed that begrudges wi-fi on flights, it’s us. That was the only time we got to ourselves and now that’s also been snatched away from us.”
“I don’t get this. This Lowe Lintas brags about their no awards policy and then comes in droves the one year their foreign office enters their work which is set to win. Why this moral high ground then?”
“Grand Prix for that? Must have redone the AV.”
“Can he not take a supersonic jet or something and fly to Cannes immediately?”
“The work that induces cringe-worthy reactions in your country wins big here. I think that’s what we should aim for now.”
LioneseWhispersCannes Lions 2015: #Overheard
Next time you spot an international ad you would like to recommend to a friend, tweet it out to @ETBrandEquity and you just might get a mention in Brand Equity
This is me ! AT&T
Lessons From Cannes
Sohil Karia, co-founder and
chief design officer,
Schbang (SK)
Vaishakh Jhunjhunwala, copywriter,
Scarecrow (VJ)
Keeping up its long-standing support to the LGBT community – AT&T is known to have been the first company to have a policy in place that banned discrimination against LGBT employees way back in 1975 – the telecom major has launched its ‘Live Proud -This Is Me’ campaign. Here’s what two ad-guys have to say about the campaign for which videos are being crowd-sourced.
If you’d been following our reports from Cannes you’d know that the Team India gave the sessions the short shrift. So we took the liberty of gathering a lot of gyaan in easily digestible chunks. Read on. By Shephali Bhatt
Shephali Bhatt
No title, no headline, no body copy. Just one image. That pretty much describes Marcello
Serpa’s work. Partner and creative director at AlmapBBDO, Serpa has been championing the cause of simplicity in creativity for over 30 years now. One of the hottest art directors in the world, the São Paulo based ad man is popu-lar among the Indian ad janta for his work on flip-flop brand Havaianas. He is pretty much solely credited with bringing global recognition to the Brazilian company.
In fact, he cracked a brief on Havaianas just three weeks ago. Why does he need to do that at his position, you’d think. So did we. At his age, with his body of work, he should’ve been the global creative chief of a network agency, travelling to different continents, speaking at seminars, being a part of award juries (That’s what almost all the others do). But Serpa wants none of it.
A cook. Not a restaurant chain ownerSerpa doesn’t want to get reduced to an international ambassador of a network who conducts ‘talks’ on advertising across the world. “I think it’s a bit boring. I’m a cook, not a restaurant chain owner. I love my restaurant, all my chefs. I get excited about new customer demands every day. I like dealing with ingredients and making a deli-cacy out of it that the customer will love. I want to keep doing that,” he says.
Apart from being an ad chef, Serpa enjoys try-ing his hand at Indian and Thai cuisines as well. He fondly recalls cooking Indian dishes the last time he was in India.
(Old) Age: His advantageAgeing has only helped him become a better cre-ative director, he feels. “I’m getting old now. And the older I grow, the closer I feel to the consumer. The consumer doesn’t care much about brands. They don’t care about advertising. The only peo-ple who care about advertising are the people in advertising,” he elaborates. Being able to catch the pulse of consumer helps him make his work simpler, more hard-hitting and effective, he feels.
A generation of complicatorsAsk him about the work he wished he’d done, and he’d say, “Ah, there are so many of them.” That’s what (almost) everyone says, generously. But when you get him to dig deep and give you
an answer, he takes time to think, think hard. Serpa really liked Mc-Cann Melbourne’s ‘Dumb Ways To Die’ for Metro Trains. Well,
who doesn’t like the mega Grand Prix winner from 2013? But he likes
it not for its impressive award tally, but its simplicity, he says.
Why choose a campaign that was made three years ago? “Because these days, almost every-thing I look at feels so complicated. It’s like a case study in itself. You’ve to go through gazillion steps to get to the point. “Connect with this, press that button, scan this item, pick that, send those;’ it just doesn’t end.
Industry on the wrong routeAgencies are trying to sell more and more com-plicated ideas, Serpa feels. “The more complicat-ed the idea, the more money you can actualise from the client, they think. Everything is becom-ing more scientific. The gut feel you’d have by merely looking at something, that ‘This is it’ mo-ment’ it’s almost gone,” he says.
Against Big Data?So, is Serpa anti-Big Data? “I love big data,” he
clarifies. “But I think big data is being used in a wrong way. If there’s a big data store you can go to, to ask the right questions and get answers that help you understand consumer behaviour immediately, it’s brilliant. If it tells you what are the demands of people in certain areas of a coun-try, what are their prejudices, that’s great. Like, if big data indicates (supposedly) that 75% of peo-ple who own a Volkswagen love cats, then there are so many ways you can utilise that informa-tion to develop your campaign.” Big data can give you information on areas you’ll probably never think about, but once you make those connec-tions, it can be very useful. “All this talk about big data curbing gut-borne creative ideas is just bulls**t,” he concludes.
On the sidelines of Cannes we get up close with AlmapBBDO’s Marcello Serpa a champion of minimalism in advertising
“The only people who care about advertising are the people in advertising”
I LIKE DEALING WITH
INGREDIENTS AND MAKING A DELICACY OUT OF IT THAT THE CUSTOMER WILL LOVE. I WANT TO KEEP DOING
THAT— Marcello
Serpa,Partner &
Creative Director, AlmapBBDO
Cesar: He might
look like you. But
he doesn’t like to
eat the same food.
Havaianas: Take
the word of
someone with
twice as many feet
as you
Pepsi: With
a Touch of
Lemon
Volkswa-
gen (origi-
nal parts):
Don’t rely
on some-
thing just
because it
fits.
“Creativity flourishes under adversities.”
Jon Hamm,GLOBAL CCO, GEOMETRY GLOBAL
“Meeting new people is a fundamental human need. How you can use technology to bolster that need and make interfacing in real world more efficient is vital.”
Sean Rad, FOUNDER, TINDER (APP)
“I don’t look at a user’s follower count. I judge them on the basis of who they follow. That tells you a lot about a user.”
Ross Hoffman, SENIOR DIRECTOR GLOBAL BRAND STRATEGY, TWITTER
“Technology shouldn’t dictate the way we express ourselves. It should be treated like just another enabler. Like a paintbrush.”
Evan Spiegel, FOUNDER, SNAPCHAT
“McDonald’s served 6 billion people in 60 years. Tinder got 6 billion matches in over a year of starting operations.”
Bill Kanarick, SVP AND CMO, SAPIENT
THE ECONOMIC TIMES, JULY 01-07, 2015 3
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my life more interesting, richer, better or leave me the f*** alone!”
But advertising’s harshest critics come from within the industry. Tom Goodwin, the senior vice president of strategy and innovation for Havas Me-dia, wrote a fascinating and candid piece titled ‘What if Cannes Lions celebrates the worst, not the best of advertising?’ for The Guardian recently. He says, “The last few Cannes Lions festivals show all the signs of the industry unbundling it-self further from reality. At a time when businesses face existential challenges, we seem determined to provide silly, self-serving solutions. Fast moving consum-er goods (FMCG) companies face the threats of apathetic audiences, private labels, and the fact that people wouldn’t care if 74% of brands disappeared for good. Nivea, in their genius, made a handful of near field communication (NFC) sun bracelets that probably few people have ever touched and it wins countless awards.... The one thing that binds together the more than 200 Cannes winners I’ve seen, is that they are ads only advertising people have a good chance of seeing. I’m not sure that’s what the industry should be about.”
Goodwin concluded with; “We need to rethink our concept of advertising and challenge the boundaries of where our good ideas can live. Cannes should reflect these new and exciting times, not celebrate the worst of an industry that’s
in love with technology and itself, not the people it purports to sell to.” Round-ing off the criticism leveled at the in-dustry’s and Palais’ doorstep, is adver-tising insider, George Parker who writes an expletive-laden blog called AdScam. He said in a post on the first day of Cannes Lions 2015: “It’s started, the ever ballooning festival of self con-gratulation that increasingly has less and less to do with its reason to exist.” Nonetheless, communication profes-sionals still fly across continents year after year and pay millions to win tro-phies which they parade around the Croisette, where global agencies, (in-cluding Havas), set up a temporary com-mand central. Lions, after all, look great on the mantle and give you creative cred like no other award.
Despite the festival’s shortcomings, lovers, haters, journalists and wide-eyed Cannes Lions virgins flock to the town like bees to a blooming rose. The reasons one attends still, apart from the irresist-ible allure of recognition and glory in the form of metal lions, opportunities to schmooze with chiefs and clients and free vacation, could be narrowed down to; 1) A self-perpetuating cycle of FOMO (fear of missing out) 2) A genuine, rather earnest desire to be exposed to and learn from the best creative minds in the busi-ness 3) Gather with distant comrades. So together we may fret about the slow but certain demise of the industry as we
know it, only accelerated by technologi-cal disruptors. Partake in the collective obsession with everything tech, Twitter and now, Tinder. And breaking the Inter-net while we’re at it. Adapt or die. The desperation is palpable. Join the revolu-tion or fade into obscurity. The advertis-ing industry, like some other creatively-inclined industries, is in a perpetual ex-istential crisis.
What Cannes Lions does is reinforces the belief that you are not alone. That, perhaps, is its reason to be.
Ps: On a personal note, I’ve enjoyed covering the Cannes Lions for this paper. The temporary loss of luggage on my second outing notwithstanding. (No thanks to the airline that delivered me to Nice but left my suitcase in Mumbai.) And despite acute sleep deprivation, a questionable liquid diet, buzzwords, cli-chés and general bullpoo oozing out of “storytellers” over seven days and nights of seminars and conversations; I left the French Riviera short on cash but rich in experience. And with an inexpli-cable void at the end of each Cannes Li-ons week. (Not snark, that.) Perhaps that’s why we go off on European so-journs after the fest, some (mostly jour-nalists) to recover and others to forget that Cannes is a whole year away.
But, c’est la vie, non?
Why we endure the week-long ad fest on the Côte d’Azur called Cannes Lions. By Delshad Irani
It’s easy to dismiss the Cannes Lions as a week of company sanctioned de-bauchery. An excuse to party on the French Riviera with workmates on the agency’s tab. God knows the fest
gives us ample reason to think so. Be-cause at the annual Festival of Creativi-ty there’s indeed a lot of back slapping, snipping, supping and shagging (occa-sionally, on the Grand Audi red-carpet). Excessive language and alliteration aside, that’s a fairly accurate descrip-tion of goings-on back there. But if you’re from the industry, the charges lev-ied against Cannes Lions, the biggest ad award show on the global circuit, are well known.
No Cannes report may go to press or wherever digital versions go to be pub-lished without at least a fleeting men-tion of rosé wine, hangovers and yachts, among other beach-side paraphernalia. But, so what if you missed a few life-al-tering talks because you knocked back one too many bourbons. (What did you miss? As @eddiemay puts it: “Tweets from people at #CannesLions talks come across like a stream of ancient Chinese proverbs gone badly wrong.” Confucius say, ‘The greatest content in the world has no legs unless it has the ability to scale.’)
Merriment, however, hardly can be a grievous indictment against a festival set in a veritable party spot. But an insu-lar ad frat’s exaggerated sense of self, and the self-serving nature of communi-cation solutions Cannes Lions cele-
brates abundantly is. Advertis-ing and Cannes Lions, in par-ticular, have no dearth of
haters, today, with the prolifera-tion of anti-consumerist senti-ments felt across the globe. Some haters are, in fact, invited to speak at
the festival. Famous people like actor and musician, Jared Leto, who shared
his profound musings on advertising at the 2014 edition: “Tell me the truth! Make
Woe Is Me!
Change Of Fortune?This illustrious agency’s office down south has not been making much buzz other than its people exiting from time to time, ti l l recently when it was in the news for one of its creations — a video film for an ecommerce brand — that became controversial owing to its provocative theme of alter-nate sexual preference. The news-making may just continue if our admoles are to be believed. The agency is soon to announce a plum win — of one of the largest global ecommerce players that is trying to make its footprint strong-er in the aggressive Indian market — that will add sizable clout to wits kitty both in repute and in the billings.
Blue Eyed BluesThis creative powerhouse agency is always known to have played favourites. Terms like ‘clique’ and ‘coterie’ have invariably been used in muted and not so hushed tones when it comes to the power-play at the top at this top-ranker of an agency. Many were hoping that some of this may change with the exit of one of the high-powered creative faces of the agency, but our moles inform us that may not be the case. For instance the Cannes-contingent has once again left out this senior creative resource at the agency who has been a loy-alist of many years. Surprising since the contingent comprising nearly two dozen people from its various offices is one of the largest from India. Interestingly this gent’s name keeps popping up as one who could well fit the creative shoes at any of the agencies that have been shopping around for the NCD/CCO. Once again his name has been doing the rounds for a possible exit. If this happens, you’ll know we had given you a heads-up.
Got any funny emails floating around your office? Seen a scam in someone’s portfolio? Send them to us at [email protected]’ll dish all the dirt you dish to us...
It should come as no surprise to you dear reader that team BE has its own take on what the global advertising industry considers the best. Some entries have us enthusiastically joining the cheer squad. Others have us baffled, wondering how something so trite, cynical, bizarre or unoriginal got anywhere near striking distance of a trophy. We give you a run down on some of our favourites and least favourites from this year over this issue and the next.
Direct: Volvo -
The Greatest Interception Ever
Agency: Grey New York
We hear it was a neck and neck contest between Volvo and a pornographic web-site and no surprise, the naughty site lost hand’s down. Which seems to be the inevitable fate of such sites that make it to the awards: this is the second instance we hear of one losing out at the last stage to a more “legitimate” business. Perhaps these sites ought to wait their turn for the revival of the Hot D’Or, a festi-val of pornography that was also held at Cannes.
Having said that, Grey’s en-try for Volvo is no undeserving victor. It’s probably one of the most definitive pieces of 21st century communication, a be-wildering post-modernist take on advertising which is still desperately trying to do all the things more obvious forms of advertising try to do.
Volvo invited people to tweet with #volvocontest accompanied by the name of a person they loved, giving that per-son the chance to win a new Volvo SUV. The catch? They had to tweet this every time they saw a commercial for another car during the SuperBowl.
It’s obvious from this win that Direct has come a long way from a mailer trying to shock, tempt or otherwise coerce you into investigat-ing its contents. Until Cannes starts another category purely catering to ambush marketing, this is a well-deserved and an appropriate win, which also succeeds in expanding the defini-tion of the category.
Outdoor: iPhone – World Gallery
Agency: TBWA/Media Arts Lab, LA
Utter the word ‘crowd-sourced’ and immediate-ly you’d wish you hadn’t. Because we would have crowdsourced a hit on you by then. In its hey-days, the C word had be-come the go-to prop in the arsenal of marketers who, instead of exercis-ing their creative muscle, outsourced the job to reg-ular Joes with a lot of free time and inclination to spare. Some still call it cutting-edge and brave, we call it lazy. But every once in a long while a
campaign comes along that redefines the very scope of this genre of marketing. And while they’re at it, re-instils our faith in adkind.
Apple’s outdoor campaign for the iPhone 6 is just what the doctor ordered. This global
campaign put our genera-tion’s penchant for docu-menting everything from the
mundane to the spectacular to good use. iP-hone users from all over the world sent in pho-tographs that the agency ran on over 10500 sites worldwide, including 400+ large format billboards that ran across 73 cities in 25 coun-tries. Pictures of stunning landscapes and sleeping babies, fields and mountains to ur-ban transit.
They are the kind of pictures Instagram riches are made of. And best captured the iP-hone’s superior capabilities. Sorry, Samsung, Lumia and the rest. But what got it a best in our books is the fact that this is not just adver-tising. It’s also art.
Radio: Soundcloud —
The Berlin Wall of Sound
Agency: Grey
Those of us who are fans of rather obscure and/or abrasive forms of music have at some point of time or the other, usually in our teens and early twenties, tried a few hor-ribly transparent ruses to evangelise our fa-vourite bands. It’s with great disappoint-ment that we realise soon (but never soon enough) that pretty girls are not interested in Steve Vai’s shred attack on The Animal. That Eaten Back To Life by Cannibal Corpse is not everyone’s idea of great party music. That there are people who find the 80 plus minutes of Tales from the Topographic Oceans by Yes boring and not an exhilarating musical ad-venture that demands to be heard back to back four times at a stretch.
Someone at Grey and/or music streaming service Soundcloud really likes power noise or dark ambient industrial or whatever the seven odd minutes of this entry are — we confess to being a little rusty when it comes to the exact genre.
And we are at a certain level almost furi-ous with envy at them making just about eve-rybody from populist Coldplay fans to classi-cal music snobs to the “abhi toh party shuru hui hai” types to the Radio Lions jury at Cannes sit through seven minutes of their favourite genre: abrasive droning punctuat-ed by guttural cries, shrieks, bullets and dogs barking. It’s apparently online streaming service Soundcloud’s sonic recreation of the Berlin wall with soundwaves creating pic-tures of the wall as it stood.
It’s all very grim and Teutonic but to our minds also incredibly self-indulgent and dull. Less advertising of any sort and more avant-garde art that gets celebrated at Cannes’ other famous festival, usually set to some horrifyingly perverse visuals courtesy
Lars Von Trier. The kind of thing that makes nonsense of David Ogilvy’s most sensible piece of advice: Your role is to sell, don’t let anything distract you from the sole purpose of advertising
Press: The Buenos Aires Public
Bike System,
Agency: The Community/
LA Comunidad Miami
At first sight this print campaign reeks of the kind of proactive advertising that gives awards a bad name and their organisers sleepless nights. At second sight… nah, still the same.
We’re all for flatter tummies and reduc-ing our carbon footprint, but there’s got to be a better way to push people to cycle more and take advantage of the 24/7 public bike system. ‘Never Stop Riding’ the campaign tells accompanied by a series of illustra-tions. The analogies aren’t particularly sol-id — dog and tail, baby and boob, squirrel and nuts and moth to a flame (the moth dies by the way). How bad do the rest of the en-tries in this category have to be for a cam-paign like this to nab the Grand Prix? Per-haps the jury had a flat tyre on their way back to the judging room. And you know what they say, in the land of the blind, the man with the bicycle is king.
Now, we shall leave you, dear reader, with a promise. We hereby solemnly swear never to give Goafest a hard-time again. Ever.
Editor’s Choice: BEst BEkaar Grand Prix Special
BEKAAR
BEST
Screengrabs
from a Tumblr ,
Cannes You
Please Shut Up?,
a collection of
tweets from
agencies
THE ECONOMIC TIMES, JULY 01-07, 2015 4
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