Posts Tagged ‘time’

Chicken With a Beef: the Untold Story of Chick-fil-A’s Cow Campaign

June 17, 2016  |  Media Week  |  No Comments

Stan Richards, founder and creative director of ad agency The Richards Group, was sitting in a routine staff meeting in 1994 when he learned his agency won the Chick-fil-A account. He didn't find out in an email. No phone call came in breaking the good news. Instead, David Salyers—then vp of national and regional marketing at Chick-fil-A—ventured from Atlanta to the agency's Dallas headquarters on a whim. Salyers arrived, unannounced, and boldly walked into the meeting. He stopped whatever conversation was taking place and shook Richards' hand. "We want you to be our new agency," he said with a smile. In that moment, Salyers made a promise to Richards that the agency said still rings true today: "We will never be your biggest client, but we will do everything we can do to be your best client." And, Richards tells Adweek, "that's exactly what they've done over all those years." The underdog chicken In the early '90s, Chick-fil-A was primarily known for being a mall-based fast-food chain, but beginning in 1994, the chain started slowly shifting its focus to freestanding units. With that shift came a new batch of competitors—big burger joints.

Read More

Prime Minister Justin Trudeau Tries to Lure More Americans to Canada in New Tourism Campaign

May 31, 2016  |  Media Week  |  No Comments

To attract more U.S. tourists, Destination Canada, the country's national tourism marketing organization, brought in the big guns: Canadian Prime Minister Justin Trudeau, whose good looks and feminist viewpoints have won him lots of American fans. (At a state dinner in March, President Obama called him "the most popular Canadian named Justin." Move over, Bieber.) Trudeau appears in the first video of Destination Canada's three-year campaign, "Connecting America," which launched this month and will include ads and social media content for the U.S. market that showcases Canadian destinations. "Our research tells us that there are 30 million Americans actively considering Canada when they're looking at online travel choices, but the perceptions are that we're cold all the time, that we're far away, and that we lack urban sophistication and culture," said David Goldstein, president and CEO of Destination Canada. "Previous campaigns have done a great job at extolling the natural virtues of Canada, but the average American consumer has a hard time of figuring out what to do and where to go." Over steak and seafood at a Montreal restaurant, Trudeau talks with Top Chef winner Kristen Kish about Canada's culinary scene, the country's unheralded wine industry, and off-the-beaten path rural and urban vacation experiences. "We boldly approached the prime minister's office to see if he would help us. It was in the wake of his first state dinner with Barack Obama, and there was a certain buzz about him," Goldstein said. "He was more than happy to pitch in, and we couldn't ask for a better spokesperson." From 2014 to 2015, the number of U.S. visitors to Canada actually rose by 8.3 percent, to 12.5 million, accounting for 70 percent of all international arrivals, according to Destination Canada. Nonetheless, the organization wants to get back to its pre-9/11 levels of 14.5 million American visitors. The goal of the new campaign, its first national tourism initiative in the U.S. since 2011, is to get U.S. travelers to book trips to Canada, Goldstein said. "Often, in destination marketing, you're hoping to get brand awareness. Brand is important, but we're not selling a destination, we're selling experiences

Read More

Steve Harvey on Advertising Inequality, His Punishing Schedule and Retirement Plans

May 24, 2016  |  Media Week  |  No Comments

For his cover story in last week's issue of Adweek, Steve Harvey talked about how he juggles four hit TV series (soon to be five) and a radio show , and how he survived his Miss Universe debacle and came out the real winner . But with so many shows and project on his plate, there wasn't space in the magazine for everything that Harvey discussed. Here are the best moments that didn't make it into the story, including Harvey's thoughts on his punishing schedule, why his shows don't always bring in the ad revenue that they should and how he plans to spend his retirement: Six shows, three cities Harvey wasn't kidding when he said his mantra is to make every minute count. Filming five TV shows and a radio show requires him to commute between three different cities: Atlanta (his home, where his business offices and radio studio are located, and where he shoots Family Feud 10 weeks each summer, four episodes a day, for 200 shows a season), Chicago (he tapes two episodes of his talk show each Tuesday and Thursday, from late August to May, 140 episodes per year); and Los Angeles (he taped Little Big Shots for a week last October and a weekend in November; Celebrity Family Feud shoots two weekends in March and Dream Funder, his upcoming ABC series, will film on weekends sometime between October and November). And 272 days a year, he records his four-hour morning radio show from whichever location he happens to be in. Harvey works nonstop—sometimes six or seven days a week—except for three weeks around his wedding anniversary every year, and two weeks at Christmas. He knows that five weeks of vacation sounds like a luxury to some, "but it's 47 weeks of high level intensity on-camera, in your face. It's a lot of pressure right now. I can handle it, because I enjoy what I do. But I don't know how long I'll do all of them." (In the story, he said that he plans to walk away from one of his TV shows: "I do love all of these gigs, but something is going to have to go for sure.") Advertising inequality During his cover interview, Harvey spoke out against the industry's tendency to marginalize him as an entertainer who only appeals to minority audiences. His WB sitcom drew ratings similar to those of other shows on the network, like Buffy the Vampire Slayer, yet received fewer ad dollars because it was deemed a "black" show. "We've got to stop that. Pay a person for the number they get, and pay the advertising on the show based on the number that show gets. They find a way to cheapen it by saying, 'Well, you've got too many African-Americans watching here, too many Latinos, not enough whites. They use that just to get a lower rate and that's so unfair, man," said Harvey. "Every corporation has a 'multicultural marketing department,' which is just another word for the blacks and the Mexicans. Really, that's what it is. And that's so ridiculous. Family Feud isn't big because of black people or just white people

Read More

Esquire’s New Editor Wants to ‘Reimagine the Way Fashion Can Be Done’

May 23, 2016  |  Media Week  |  No Comments

Specs Current gig Editor in chief of Esquire; editorial director of Town & Country Previous gig Editor in chief of Town & Country Age 46 Twitter @jayfielden Adweek: Growing up, were you an Esquire reader? Jay Fielden: Sure I was. I tell this story in my first editor's letter, when I was about 13 or 14 and growing up in San Antonio, I started getting into magazines, and Esquire and The New Yorker were two magazines that I just got curious about and wanted to know more about. They were probably both a little above my head at the time. But I started having that experience with magazines that I envision still being the most powerful thing a magazine can do, that kind of religious conversion where you realize you want to see this thing every month. So that was the beginning. What made Esquire such an important brand? Because it was genre-busting. When you have Nora Ephron writing about breasts, when you have Joan Didion writing for it, when you do the kind of covers they did, a lot of it punched through the culture. It was something highly relevant, on the pulse, fitfully trying to and succeeding at often leading the cultural conversation, saying things no one else was, doing things no one else was. What changes will you be bringing to the magazine? Even though there's a tremendous history there, this is a moment where you have to pretend there's no history and see it as just a reboot and an opportunity to ask the hardest questions. I just spent five years at Town & Country reimagining what Town & Country was. [At Esquire], I want to reimagine the way fashion can be done in the pages, and I want to make sure that the level of the writing and the journalism kind of becomes a constant throughout all the pages. I don't want it to feel like there's two different guys reading this: one who's reading it for the fashion and the style, and then one guy who wants it for the 10,000-word well-reported article

Read More

Esquire’s New Editor Wants to ‘Reimagine the Way Fashion Can Be Done’

May 23, 2016  |  Media Week  |  No Comments

Specs Current gig Editor in chief of Esquire; editorial director of Town & Country Previous gig Editor in chief of Town & Country Age 46 Twitter @jayfielden Adweek: Growing up, were you an Esquire reader? Jay Fielden: Sure I was. I tell this story in my first editor's letter, when I was about 13 or 14 and growing up in San Antonio, I started getting into magazines, and Esquire and The New Yorker were two magazines that I just got curious about and wanted to know more about. They were probably both a little above my head at the time. But I started having that experience with magazines that I envision still being the most powerful thing a magazine can do, that kind of religious conversion where you realize you want to see this thing every month. So that was the beginning. What made Esquire such an important brand? Because it was genre-busting. When you have Nora Ephron writing about breasts, when you have Joan Didion writing for it, when you do the kind of covers they did, a lot of it punched through the culture. It was something highly relevant, on the pulse, fitfully trying to and succeeding at often leading the cultural conversation, saying things no one else was, doing things no one else was. What changes will you be bringing to the magazine? Even though there's a tremendous history there, this is a moment where you have to pretend there's no history and see it as just a reboot and an opportunity to ask the hardest questions. I just spent five years at Town & Country reimagining what Town & Country was

Read More

NBC’s Robert Greenblatt Has No Regrets About His Surreal Upfront Duet with Dolly Parton

May 12, 2016  |  Media Week  |  No Comments

NBC Entertainment chairman Robert Greenblatt hates sitting through upfront events as much as you do. "I think those upfronts tend to be just mind-numbing for the audience. They go on too long, and we show clip after clip and they become routine and formulaic," Greenblatt said. So as NBC was preparing for last May's presentation at Radio City Music Hall, Greenblatt was eager to shake things up. "I thought, is there something that we can do that just feels different?" The result was surprising and surreal : partway through the proceedings, Greenblatt introduced Dolly Parton, who performed her song "Coat of Many Colors," which was the basis for the first of several movies NBC was going to make based on her life and music. Then, she asked Greenblatt to join her on "I Will Always Love You" —and he did. While the exec held his own on the piano ("He usually sings with me," Parton said), it didn't make the spectacle any less bizarre. "People thought, 'What is he thinking?'" said Greenblatt. Still, the duo received a standing ovation as Parton cracked to advertisers, "we're looking forward to many projects, so get that money out!" A year later, Greenblatt said he "can't articulate" what prompted him to make the movie deal with Parton. "It was just kind of a gut instinct, even though doing a holiday family movie with Dolly Parton probably sounded as silly as doing a live musical called Sound of Music," said Greenblatt. "It seemed like a good idea. I've known her for years, and I've done other things with her"—including producing the Broadway musical based on her film 9 to 5, which Parton wrote the music and lyrics for—"so I knew that there's a certain base level of belovedness for her." It was that same gut instinct that led to last year's upfront duet. "I wanted to do something at the upfront that was going to not only get attention, but be fun for us and for the audience," Greenblatt said. "And that was organic and seemed to be a good idea at the time, and it worked." It did, but it also became a running punch line through the rest of the week's upfronts. "Oh yeah, like Jimmy Kimmel calling me a fool, I think he said," recalled Greenblatt

Read More

HealthiNation Tells Advertisers Its Viewers Aren’t Just Browsing, They’re Finishing Videos

May 11, 2016  |  Media Week  |  No Comments

Though it's one of the smaller presenters during the Digital Content NewFronts, health video startup HealthiNation has a compelling case to make to advertisers: Its audience is watching for a reason. Unlike some of the bigger digital players that court broad audiences, viewers of HealthiNation videos are not there to browse. "They watch the content in its entirety, and they'll watch your advertising to get to the original content," said CEO Michael O'Donnell Tuesday evening during an intimate gathering at New York's Core club. "We're in a new age of health awareness," said O'Donnell. "People are getting more in touch with their health obstacles and learning how to deal with health and fitness." And it isn't just older people who have health concerns these days or are generally more interested in health-related topics. According to O'Donnell, roughly 200 million Americans—including baby boomers, millennials and Gen Xers—are "thinking about health and fitness on an everyday basis," and they're watching HealthiNation's content longer than that of most larger publishers, he said. Vp of sales Larry Kline said HealthiNation's viewability rate for preroll ads is 78 percent, well above the industry standard of 43 percent. That figure is roughly the same for completion rate. "On average, viewers are watching 76.3 percent of the videos that they start," said Kline. (HealthiNation averages 32 million monthly viewers.) He added that HealthiNation—which has three verticals: food, fitness and managing conditions—will relaunch this summer with a sleeker, more modern look

Read More

Veep’s Matt Walsh on Real-Life Politics and Maintaining a ‘Pristine Fiction’ on the Show

May 10, 2016  |  Media Week  |  No Comments

Specs Age 51 Claim to fame Stars as press secretary Mike McLintock on HBO's Veep (Sundays, 10:30 p.m.) Base Los Angeles Twitter @mrmattwalsh Adweek: What's the first information you consume in the morning? Matt Walsh: First thing would probably be skimming emails and checking Twitter. Your Twitter bio says you were an early adopter. How'd you get started on there? My friend [comedian] Paul Scheer was a big Twitter guy back then, and he said, "You should do it." At the time, I was promoting a TV show called Players, which was short-lived, and he told me it was a smart move to communicate to your fans what you're up to. Do you use Twitter differently now versus when you joined in 2009? I do think I track news off of it more than I used to. I remember when Michael Jackson died, I pulled that off of Twitter before I saw it anywhere else. That's when I realized, "Oh wow, this is a real news ticker." I think I [tweet] less now. I just try to write something once in a while, almost like homework. Do you listen to any podcasts? You Must Remember This . That's a good one. I listen to Krista Tippett's On Being .

Read More

CP+B Veterans Launch New Miami-Based Agency Markham & Stein

May 9, 2016  |  Media Week  |  No Comments

Despite talk of the end of the advertising agency business model, former CP+B executives Jeff Steinhour and Markham Cronin think small to mid-sized creative shops can thrive as long as they focus on producing great creative above all else. The duo, who have more than 50 years of advertising experience between them, felt so strongly about the viability of this narrative that they launched their own full-service agency in Miami in the form of Markham & Stein. "This thing has been a long time coming," said Cronin, who officially opens the new shop with his partner today. After leaving CP+B and leading creative at other agencies, he opened his own operation Markham Unlimited in 2005. But Cronin tells Adweek, "I was spending 20 percent of my time doing the valuable part of my job for clients and the other 80 percent actually running the agency. So when the opportunity came to talk to Jeff about maybe doing this, there was no question it was something we should try and do together." Markham and Steinhour spent 10 years together at CP+B on the creative and accounts sides of the business, respectively.

Read More

What’s Keeping Broadcast Presidents Up at Night as They Plan Pitches to Advertisers?

May 9, 2016  |  Media Week  |  No Comments

It all comes down to this. The broadcast upfronts are just days away, which means it's crunch time for the network presidents. They and their top execs will be spending the week hunkered down as they review their new pilots and make the final, agonizing decisions about which new and returning shows will and won't make it onto the 2016-17 schedule that they present to advertisers and buyers next week. All the networks have one goal this week: strengthen their schedules from this season. "It sounds so simple, but it's actually much harder than you think," said CBS Entertainment president Glenn Geller, whose network will finish the season first in total viewers, adults 18-49 and adults 25-54. "You want to make moves that are going to improve time periods, but there's the risk that when you move a show, you may hurt the numbers. But you have to make space for new shows, so you have to continue to try new things. It's a balancing act." Geller is one of two presidents making their upfront picks for the first time this year, along with ABC Entertainment chief Channing Dungey, who replaced Paul Lee less than three months ago. Not coincidentally, both new chiefs renewed the bulk of their current prime-time lineups unusually early (in March), which leaves them with fewer last-minute programming decisions to make than usual. While NBC will slip to No. 2 this season in the 18-49 demo after two years on top, NBC Entertainment chairman Robert Greenblatt is actually more optimistic than ever about piecing together his new schedule. "What I'm feeling good about this season, which I have not felt in the four or five previous years, is that we have a fair amount of shows that are working and solid. We've always been plugging holes and trying to just keep things afloat because so much stuff was failing as we tried to rebuild," said Greenblatt

Read More