Fallon may be winning the battle as the womb of new agencies - as I’ve stumbled upon yet another spin-off: Zeus Jones. This agency popped onto the scene March 1, 2007 (and deserves extra credit for not naming the agency after themselves).
While we’ve not been very complimentary of Brew: A creative collaborative, or Barrie D’Rozario Murphy and the way they started off online (weakly)- the crew at Zeus Jones scores a B+ for “getting it.” The front page is just a series of places you’ll find them online- starting with their presentation on Slideshare (see below). Very cool stuff.
Zeus Jones Welcomes You.
Zeus Jones approaches marketing differently.
View our credentials to see what we mean by “Marketing As A Service.”
They also have a separate blog: From the head of Zeus Jones which for some odd reason, they didn’t decide to build on their own site- but using Blogspot- which is what stopped me from giving them an A+
The idea of a blog, separate from a site, is old school. Ideally, while having all those places online as place to hang out is great- the fulcrum of your online (the de facto realization of your brand these days) in 2 places is a mistake.
What I had time to look at on ZJ’s sites looked good. They’ve decided it’s not advertising brands need- it’s more of a reason to like a brand- utility. We’ve always thought of our solutions for clients as one that makes the relationship between customers and our clients one of mutual joy, as opposed to a one-way shouting match.
There are some smart, small agencies out there- but, finding and identifying them will take a new kind of filter. With agency search firms still clueless about what makes good web strategy, and Ad Age and everyone else so fascinated by Crispin Porter & Bogusky (us included)- what has been slipping under the radar is agencies like Zeus Jones who seem to have a true Unique Selling Proposition- and the smarts to make it happen in our Web 2.0 world.
When Nike licensed the Beetles “Revolution” for a commercial - music purists thought the world was ending.
Other artists decried the practice- some swearing it off- and then later changing their minds. Reality is- having your music in a commercial, or in a video that goes viral is the best thing to happen for sales.
Since the ad debuted in mid-September, sales of “1, 2, 3, 4” and its parent Cherrytree/Interscope album, “The Reminder,” have skyrocketed.
Earlier this month, the track was selling about 2,000 downloads per week, while the album was shifting 6,000, according to Nielsen SoundScan. On the most recent charts, “1, 2, 3, 4” clears 73,000 downloads and reaches new peaks of No. 7 on Hot Digital Songs and No. 28 on the Billboard Hot 100. “The Reminder” jumps from No. 36 to No. 28 on the Billboard 200, with sales of 19,000.
In total, “1, 2, 3, 4” and “The Reminder” have amassed sales of 181,000 and 235,000, respectively. (Feist’s debut album, 2005’s “Let It Die,” has sold 147,000 copies.)
While the iPod Nano spot is introducing Feist to mainstream America, online chatter is paving the way to sales of the singer’s music. Feist is not identified in the campaign — created by TBWA/Media Arts Lab — and this has led many consumers to the Web in search of the voice behind the song in the commercial.
Considering that many people will actually buy the music from the iTunes store- Apple has another revenue stream to offset the cost of advertising. Apple is actually smart enough to put a link to the song right with the online version of the ad- but, could do better by doing the following:
Have a unique URL for each ad- so people can link to it.
Have text with the words to the song for people searching the words.
Add a description of the ad so that blind people would know what the ad is all about. Like it or not- an iPod is something a blind person would buy (and that makes me wonder about how ADA compliant the iPod interface is?)
Include a way to embed the video in blogs- I had to get it from YouTube- where there is no “buy it now” button for the iPod.
These are simple tips to building a better website for companies who spend huge sums on ads- but haven’t quite mastered the art of incorporating them into their websites.
And if you really want the song, 1,2,3,4 from Feist, you can buy it from this link:
The complete lyrics are:
One Two Three Four
Tell me that you love me more
Sleepless long nights
That is what my youth was for
Old teenage hopes are alive at your door
Left you with nothing but they want some more
Oh, you’re changing your heart
Oh, You know who you are
Sweetheart bitterheart now I can tell you apart
Cosy and cold, put the horse before the cart
Those teenage hopes who have tears in their eyes
Too scared to own up to one little lie
Oh, you’re changing your heart
Oh, you know who you are
One, two, three, four, five, six, nine, or ten
Money can’t buy you back the love that you had then
One, two, three, four, five, six, nine, or ten
Money can’t buy you back the love that you had then
Oh, you’re changing your heart
Oh, you know who you are
Oh, you’re changing your heart
Oh, you know who you are
Oh, who you are
For the teenage boys
They’re breaking your heart
For the teenage boys
They’re breaking your heart
The Big Ad Agencies used to be afraid of Google because they didn’t understand it, the web, or the future of advertising. When all of a sudden, advertisers started pulling money out of the media budget and spending it with Google it terrified them. So they all went and bought up “new media” shops- and still created sites that didn’t work with Google any better than, well you know those braille buttons on the drive-up ATM?
So when Google starts raiding the big agencies for top talent, their worst nightmare begins to come true: the $9 billion dollar gorilla now is quietly sneaking over from media to marketing partner.
Ogilvy N.Y.’s Berndt to Join Google
Berndt, who resigned from Ogilvy this week, will become the managing director of Google Creative Lab, according to a Google representative. In the newly created position, Berndt will lead the marketing of Google’s brand and services. He will also work with agencies to integrate Google products into campaigns.
The move comes as Google looks to expand its relationships with large brand advertisers. After initially offering only simple text links overwhelmingly geared to direct-response marketers, Google has added graphical and video ads more often used by brands.
The thing is- of all the people to hire, Google picks someone from an agency that still can’t get it’s own clients spots online in a way that customers can find them. I met Andy at the 2007 AAF National Convention- nice guy, super cool presentation of the new Fanta work- but, if you went to the Ogilvy site - or the Fanta site- or anywhere- you couldn’t find the campaign except for a lone spot posted by PSYOPS who did the animation. The big agencies have a long way to go to learn how to monetize advertising that works by earned attention instead of paid placement.
Maybe, Andy will be the new evangelist for the power of Google when used right- then again, he may be working for the dark side now… depending on your viewpoint.
One things for sure, no agency will ever have a bankroll like Google.
The Big Ad Agencies used to be afraid of Google because they didn’t understand it, the web, or the future of advertising. When all of a sudden, advertisers started pulling money out of the media budget and spending it with Google it terrified them. So they all went and bought up “new media” shops- and still created sites that didn’t work with Google any better than, well you know those braille buttons on the drive-up ATM?
So when Google starts raiding the big agencies for top talent, their worst nightmare begins to come true: the $9 billion dollar gorilla now is quietly sneaking over from media to marketing partner.
Ogilvy N.Y.’s Berndt to Join Google
Berndt, who resigned from Ogilvy this week, will become the managing director of Google Creative Lab, according to a Google representative. In the newly created position, Berndt will lead the marketing of Google’s brand and services. He will also work with agencies to integrate Google products into campaigns.
The move comes as Google looks to expand its relationships with large brand advertisers. After initially offering only simple text links overwhelmingly geared to direct-response marketers, Google has added graphical and video ads more often used by brands.
The thing is- of all the people to hire, Google picks someone from an agency that still can’t get it’s own clients spots online in a way that customers can find them. I met Andy at the 2007 AAF National Convention- nice guy, super cool presentation of the new Fanta work- but, if you went to the Ogilvy site - or the Fanta site- or anywhere- you couldn’t find the campaign except for a lone spot posted by PSYOPS who did the animation. The big agencies have a long way to go to learn how to monetize advertising that works by earned attention instead of paid placement.
Maybe, Andy will be the new evangelist for the power of Google when used right- then again, he may be working for the dark side now… depending on your viewpoint.
One things for sure, no agency will ever have a bankroll like Google.
Apparently the folks who run broadcast networks flunked business 101. Can you imagine book publishers not selling their wares through Amazon and Borders and Barnes and Nobel at the same time? Of course not.
Sure, Networks can sell their programming direct, but, that’s not the point- especially since they will be out of business in the next three years if they don’t adapt to the new realities.
NBCU wont pull its existing content from iTunes until its current two-year deal expires in December. But in response to NBCU”s decision, Apple today said it would not make NBCs new fall TV shows available for download from iTunes.
Its a blow to both Apple and consumers. According to Apple, NBC supplied iTunes with three of its 10 best-selling TV shows last season, accounting for 30 percent of iTunes TV show sales.
It’s not about the networks anymore- it’s about delivering content to a diverse and varied and increasingly fickle audience- as efficiently as possible and monetizing it any way you can. The iTunes store is one of the most convenient online storefronts using the best technology. Most network sites have had problems with cross-platform delivery, consistent transfers and poor models for monetization. With Apple leading the market with over 70% of the portable digital devices- it’s a market that networks shouldn’t risk alienating.
The iTunes store also includes web 2.0 community functions- something that the networks have been slow to grasp. The market is moving to open source, open platforms- and all NBC is risking is ticking off their existing client base.
Stay tuned in- or should I say clicked in. This is only the beginning of the end of the Networks.
There are people out there who specialize in “Buzz Marketing” who will charge you a lot of money for what I’m about to share with you.
Doing the right thing will get you more customers than a new ad campaign.
Recently I’ve had a few very good customer experiences that went above and beyond what I expected from a manufacturer- so good, I’m going to share them with the world, and in the day of Web 2.0 when everyone can have a say, it’s a very good investment.
I’ve had two Lowel Pro-lights for a few years. I am not the original owner, I bought them on Ebay for a song- since the cords had been jury rigged by the previous owner. I had tried to contact Lowel soon after I bought them to get parts to rewire them but hadn’t heard back. I was frustrated, but the lights still worked. We had a lull in our shooting schedule and a new office manager who loves to “Get things done”- so I had her tackle the problem again.
Lowel said- send them in. Two weeks later- the lights come back with new cords- 2 piece this time, with cord wraps included. No charge! When the decision comes to buy lights again- there is no question about what brand will be at the top of my list.
Here is what they say about their warranty on the site:
About Lowel Light
In the event of a defect reported by the consumer within the applicable time period, if any, Lowel will, at its option, replace or repair the defective merchandise at no charge to the consumer for either parts or labor.
Note: the warranty on lights is only 2 years, and I’ve had these for over 4.
Another case of going above and beyond was Hans Grohe the German highend plumbing fixture company. The holders for my hand showers had cracked, and the heads had taken a few tumbles.
I was looking for just the replacements for the holders- but, instead was shipped 2 brand new shower heads complete. Hans Grohe has a lifetime warranty- and apparently stands by it. I will grant that the new heads aren’t quite as cool as the old ones, but, I’m just as clean.
The jury is still out on Zwilling JA Henckels, who promise a lifetime warranty on their fine cutlery, but seem to be confused about what lifetime means- when a handle delaminates. The knife is over 40 years old, and still is a great chef’s knife- however, the handle is coming apart. When presented with something as simple as putting 2 new composite sides back on the blade, they seemed to want to stall and pass the buck. Is it really worth it?
Detroit has turned to extended warranties as a way to compete with higher perceived quality of off-shore manufacturers. Millions are spent on touting 10 year, or lifetime powertrain warranties- yet, if the money was instead spent on making sure every owner felt that getting warranty service wouldn’t be a major battle- and that customer satisfaction really was the brand’s first priority- they’d probably be selling more cars.
Customer satisfaction may be the most overlooked buzz marketing strategy available. As these three experiences showcase how one customer can help propel your brand into the blogosophere for better or worse.
I’ve had two Lowel Pro-lights for a few years. I am not the original owner, I bought them on Ebay for a song- since the cords had been jury rigged by the previous owner. I had tried to contact Lowel soon after I bought them to get parts to rewire them but hadn’t heard back. I was frustrated, but the lights still worked. We had a lull in our shooting schedule and a new office manager who loves to “Get things done”- so I had her tackle the problem again.
Another case of going above and beyond was 
The jury is still out on