1. Advertising Ideas Part 2 n The Creative Revolution l Bernbach, Burnett, & Ogilvy n The Marketing Revolution l Positioning

2. The Creative Revolution: n 1960-1969 - Cultural Forces l Countercultural movements s“Break the rules” n 1950-1969 - Business Forces l A New Breed of Agencies l A New communication style l Three Influential individuals...

3. Three Key Individuals n Bill Bernbach, Doyle Dane Bernbach (DDB)

4. n Leo Burnett, Chicago, IL Three Key Individuals “If you reach for the stars, you might not get one, but you won’t come up with a handful of mud, either.”

5. n David Ogilvy Three Key Individuals l Came from UK to start agency – Ogilvy & Mather l Wrote books about advertising

6. Know Who This Is? n He’s Paul Rand n Very Influential Graphic Designer n The key - surprising combinations of words & visuals n Paul Rand worked with Bill Bernbach

7. Bill Bernbach n Started as writer for head of World’s Fair n Meets Paul Rand at small ad agency n Moves to Grey - becomes Copy Chief n 1949 - Starts “DDB” - Doyle Dane Bernbach

8. The DDB Style: n Ohrbach’s - their first account.

9. The DDB Style: n Ohrbach’s - their first account.

10. The DDB Style: n Ohrbach’s - their first account.

11. The DDB Style: n Ohrbach’s - their first account. n Levy’s - diversity w. “effective surprise”

12. n Polaroid - dramatic visual demonstration The DDB Style: n Ohrbach’s - their first account. n Levy’s - diversity w. “effective surprise”

13. The DDB Style: n Ohrbach’s - their first account. n Levy’s - diversity w. “effective surprise” n Polaroid - dramatic visual demonstration n Jamaica - one word and a visual...

14. n 3 Key Campaigns: The DDB Style (cont): Mobil - “We Want You to Live”

15. Avis - Helped inspire “Positioning” n 3 Key Campaigns: The DDB Style (cont):

16. VW - Campaign of The Century n 3 Key Campaigns: The DDB Style (cont):

17. n A New Way of Creating Ads l Writer/Art Director Team l “The Concept” n A New Industry Standard - in every award show n “Ad Age” chose Bernbach as their “Ad Man of the Century” The DDB Influence:

18. The Burnett Style n “Inherent Drama” n Red meat on a red background l Leo believed you could find it in almost anything. After all, it was “inherent” l Leo believed you could find it in almost anything.

19. The Burnett Style n “Inherent Drama” n Here’s how Leo’s agency captured the wholesome personality of a Kellogg’s breakfast

20. The Burnett Style n “Inherent Drama” n Powerful, instinctive, and long-lasting imagery n Powerful, instinctive

21. The Burnett Style n “Inherent Drama” n The Lonely Maytag Repairman - a dramatic and engagingly human personification of reliability n The Lonely Maytag Repairman

22. The Burnett Style n “Inherent Drama” n So, how do you give personality to a can of refrigerated dough?

23. The Burnett Style n “Inherent Drama” n OK, how about cans of peas and corn? n OK then, how about new frozen vegetables?

24. The Burnett Style n “Inherent Drama” n Tuna fish? l Sorry, Charlie, we just want tuna that tastes good.

25. The Burnett Style n “Inherent Drama” n Cat food? l There’s a little bit of Morris in just about every cat owner’s cat.

26. The Burnett Style n “Inherent Drama” n Cookies? l Made by elves who live in a hollow tree, and we almost believe it. l Made by elves who live in a hollow tree,

27. The Burnett Style n “Inherent Drama” n Time Magazine chose Leo Burnett as their “Ad Man of the Century” l It made Leo’s agency’s campaigns long-lasting and part of our culture l “The glacier-like power of friendly familiarity.”

28. The Ogilvy Approach n Now, let’s look at some early work by David Ogilvy. n He took classic lessons on copywriting and added his own wit and style n The result was advertising that added an extra value for the brand… image

29. The Ogilvy Approach n Craftsmanship n Research - headline was from a British car magazine n Editing - all copy is tight and bright n Wit - upscale w/o being a snob Rolls-Royce

30. The Ogilvy Approach n Story Value n Imagery - one small device - the eye patch - adds interest Hathaway Shirts

31. The Ogilvy Approach n Story Value n Imagery - one small device - the eye patch - adds interest n Repetition - Ogilvy knew advertising takes time to build - this one device let him tell his story over and over. Hathaway Shirts

32. The Ogilvy Approach n “Rules” n Here, a similar but different approach for Schweppes - why? n Because Ogilvy believed you should n Find out what works - and repeat it. Schweppes

33. The Ogilvy Approach n Ogilvy grew his agency into a world- class organization, with l New generations of capable management l World-class clients l Long-term relationships n Over time, his agency was the most successful.

34. Marketing Revolution: n 1970-1979 l Tougher economic times l New, more “scientific” tools: s Brand Management s Market Research s Segmentation s “Positioning”

35. The Marketing Revolution n Brand Management n Neil McElroy’s “Big Idea” l At P&G (1931) l The Idea - manage competitive brands within a company l Brand Management becomes standard for marketing organization l McElroy becomes head of P&G… l Eisenhower’s Secretary of Defense!

36. n The Result - companies understand their consumers more accurately n The Result - a shift to a marketing- driven perspective from a product or production-driven perspective n The Result - manufacturers begin to evolve into marketers The Marketing Revolution Marketing Research

37. Segmentation n Product differentiation in response to consumers’ differing needs n Maximize potential market share The Marketing Revolution

38. Positioning: n Positioning was a new perspective on the new marketplace. n Popularized by Jack Trout & Al Ries, former GE Brand Managers n There were too many products, and too many messages. n Marketers had to deal with this new reality. The Marketing Revolution

39. Positioning: n The Positioning authors said advertising had to evolve from hard-sell “reason why” ads... n Through image ads...n Through image ads... to advertising based on “the mind of the consumer” n What was that mind?

40. Positioning: n Though the mind of the consumer was overloaded with messages... n in most product categories, there were very simple heirarchies... The product ladder

41. Positioning: n Within each category, there are four basic types of positions… n The Best Position n The Against Position n The “Niche” Position n The New Category

42. The Best Position n In most categories, there is a #1 in the consumer’s mind n Example: Crest n The “Best” Position leverages this

43. The Against Position n The “Against” Position defines itself vs. #1. n Example: Avis “We’re only #2. We try harder.” n It’s an aggressive and competitive position

44. The Against Position n The “Against” Position defines itself vs. #1. n It’s an aggressive and competitive position n Example: 7Up “The UnCola”

45. The Against Position n The “Against” Position defines itself vs. #1. n It’s an aggressive and competitive position n Example: Take The Pepsi Challenge!

46. The Against Position n The “Against” Position defines itself vs. #1. n It’s an aggressive and competitive position

47. The Niche Position n The “Niche” Position promotes the product along one dimension of superiority n Example: All- Temperature Cheer

48. The New Category n The New Category is just that. It defines a category that didn’t exist before and then positions the (new) product as the best in that new category. Competition follows. n Example: PDAs

49. Positioning Variations: n Position by Problem n Position by Competitor n Then, agencies get bigger n Competition toughens n The tempo increases...

50. Ad Evolution: 80s & 90s n Bernbach’s influence grows… n Client mergers continue… n Agency mergers begin… n Computers and cable… n And the tempo increases even more...

51. 1984