WELCOMEWelcome to the first edition of the new look Platform magazine - now rebranded as‘Activative Platform’. Sponsorship has changed radically since the very first issuewas published as ‘Sponsorship News’ 30 years ago. The old ‘separate benefit’, ‘cashfor exposure’ and ‘formulaic leverage’ model is dead. Today’s focus is on combinedbenefits through enhanced experiences. Think alliance, collaboration, partnershipand synergy! Successful sponsorship is about building tripartite relationshipsbetween rights owners, sponsor brands and audiences. Our mission is to championthe new model, to spread leadership ideas, to ignite innovation, to showcase ground-breaking ideas and to explore risk-taking activation. Activative Platform is commitedto revolutionary ideas, original thinking, radical strategies, creative inspiration,strategic insights and exploring future facing technologies across the arts, CSR,culture, media, music and sports spaces. Each quarter we aim to become the globalplatform for rights owners, brands, agencies and sponsorship support services.
CONTENTS06 > Activation Trends Activation Trends > Activative explores the quarter’s most inventive activation trends from Cyber Concerts: A New Lease Of Live > In the digital age it is live experiences that people consumer-creativity among Batman’s brand value most. To break free from the physical and partners, music sponsor Spotify tie-ins and capacity constraints of event venues, sponsors18 > Olympic Revolution: IOC Reviews TOP brand-backed RFID festival wristbands, to Olympic host city transport ambush tactics, are increasingly embracing the ‘digital live’ trend where connected technology and social media Euro 2012 football fan passion apps and real- ensure that cyber viewers become a real-time27 > Coca-Cola’s New Olympic Beat time mood measurement initiatives. part of the genuine live music experience. Olympic Revolution: IOC Reviews TOP > As the Opera Rocks, Or It Dies > Opera polarises35 > Lloyds TSB’s London 2012 Journey starting pistol ﬁres for London 2012, Activative talks to Timo Lumme, IOC director of marketing opinion. In the past some sponsors have perpetuated its exclusive image. But ﬁnancial and television, about its decision to review the necessity and visionary thinking from opera TOP programme, his vision for the future of the and its sponsors are striving to make it more44 > Festival Boom: Amplifying Experience Games and his insights into the sponsorship revolution. Plus Redmandarin’s Shaun Whatling relevant and accessible. Rachel Clarke of Four Sports, Arts & Sponsorship explores some of gives an independent view on the TOP review. the more innovative contemporary approaches.50 > Cyber Concerts: A New Lease Of Live Coca-Cola’s Olympic Beat > Activative shows Technology Secures Tennis Tradition > how Coca-Cola is applying its new content Wimbledon’s charm is as much about what54 > Opera Rocks, Or It Dies creation, liquid and linked marketing strategy to its London 2012 campaign. Analysing the you don’t see as what you do. Its low-visibility sponsor strategy helps make it the world’s philosophy, highlighting the global vs local most prestigious tennis tournament. But balance, its Olympic sponsorship objectives and in light of these restrictions, how can its59 > Technology Secures Tennis Tradition its blending of entertainment genres by placing music at the heart of its campaign. official suppliers activate their rights? The answer, increasingly, is through technology.65 > Data & Statistics: Mainstream Tennis Lloyds TSB’s London 2012 Journey > The ﬁrst LOCOG partner to sign on and the ﬁrst Pubishing Partners > William Fenton of World Sponsorship Monitor examines deal data to to activate, Lloyds’ Olympic journey has been see if tennis sponsorship is going mainstream,69 > Education: Change & Adapt, Or Else the longest of any of the sponsors. We talk with Sally Hancock, group partnership director, ESA Diploma course director Peter Raymond’s ‘manifesto for change’, Charles Russell’s about programme structure, objectives, Jon Walters analyses ﬁnancial fairplay laws, measurement and the importance of its Global Sports Jobs’ Will Lloyd surveys the73 > Law & Legislation: Financial Fair Play community, grass-roots focus. post-Games job landscape and James Grant’s Chris Rawlinson looks at the ‘rights owner’ vs Festival Boom: Amplifying Experience > ‘organisation’ vs ’individual’ balance of power.77 > Recruitment: Post-Olympic Jobsearch Live is leading the music industry’s digital age ﬁnancial model and brands are playing an About Us > Activative Platform is an interactive ever bigger role. Activative talks with Bestival quarterly magazine committed to championing81 > Talent Management: Power Balance organiser and event outﬁt Get Involved & Get In Bed about how sponsors and agencies are the new sponsorship model, spreading leadership ideas, exploring original thinking and leveraging the festival experience to provide showcasing innovative, risk taking activation. active engagement with a passionate audience. W. www.activative.co.uk T. @activative
EDITORIALIn July 2005 London’s sponsorship industry won its biggest pitch ever - the OlympicGames. Since then, the city’s agencies - creative and experiential, ambient andhospitality - have focused on the greatest sponsorship challenge and opportunity of alifetime. Now London 2012 is finally here, has this collective effort produced much trulyremarkable work? There has been some criticism of too many ‘play-it-safe’ ads featuringstarting pistols, finishing line celebrations and the ubiquitous Jessica Ennis and UsainBolt. There has even been disappointment about a lack of ambush innovation - howmany other countries have a town called London? But at Activative we are reservingjudgement. There have been iconic moments (The Tower Bridge Rings?) and genuinelypowerful work (Channel 4’s ‘Meet The Superhumans’?), but, more importantly, webelieve this Olympics will succeed or fail on the quality of its real-time activation.We now operate in a live leverage environment and the more sophisticated Games’sponsors understand this. So we look forward to some truly innovative ‘live’ firsts.
STAT SNAP 15000 > Wristbands£3bnGames contracts awarded to Lloyds business customers Sponsored by Samsung worn at 2012 Wakestock Festival 96% Lloyds investment value acheived before Games begin 1928 > Amsterdam$1bn+ 93% The year Coca-Cola began its relationship with the IOCIOC income from TOP partnership programme 1300 > Bearers Unaided brand awarness of the IOC’s Olympic Rings In Coca-Cola’s Future Flames Torch Relay initiative 220 > Countries£800m Will show London 2012 with a 4 billion global TV audience 70%LOCOG sponsorship revenue from national partners Of LloydsTSB customers aware of its Games sponsorship 120+ > Assets In Coca-Cola’s Move To The Beat London 2012 Campaign$500m 69%P&G expected sales increase from Olympic sponsorship 42 > Sponsors Growth in UK live music revenue between 2005 - 2010 LOCOG partners, supporters, providers and suppliers£430m 35 > Formats 30%Already raised from domestic partners of Rio 2016 Lloyds Games measurement & assesment scorecard Of tennis sponsorship deals are with players/individuals 11 > Global$47m Sponsors in the IOC TOP partner programme 1%New York Metropolian Opera’s accummulated deficit 4 > Phases Of IOC’s Olympic focus on stopping ambush marketing In Lloyds TSB’s London 2012 Activation Plan
Activation Trends From the consumer-created focus of Batman’s corporate partnerships, the rise of music sponsor Spotify tie-ups and brand-backed festival RFID wristbands, to ambush activity linked to host city transport partnerships, innovation in shirt launch campaigns, the plethora of football fan passion apps at UEFA’s Euro 2012 and the advent of campaigns basedaround real time mood measurement andreflection, Activative explores some of this quarter’s most inventive and prevalent sponsor activation trends and showcases some of the stand-out examples.
> CONTENTS Activation Trends > 7 > Click text below for links Dale Jr Webfi lm > YouTube DewCrew > Website Dew Gotham City > Website NASCAR > Website Imported From Gotham City > Website Chrysler TVC > YouTube Dark Knight Rises Trailer > YouTubeBatman Brand Partners & Consumer-Creation also get his own signature “Dark Knight” look thanks The promotional contest, called ‘Imported from to a custom ﬁre suit. Gotham City’, developed by Wieden+Kennedy, Port- The Dark Knight trilogy has boasted a huge The initiative targets 18 to 24-year-old millenni- land, sees the car company sponsor a contest for fansnumber of brand partnerships: perhaps pushing even als - the core target for both Mountain Dew and the to produce 25-second video clips made with footageJames Bond as the movie series that has racked up movie. Marketers from both brands said that both from the movie, the trailer and a new Chrysler 300Sthe record number of partners. But few other movie Mountain Dew drinkers and Batman fans share a core commercial. The two brands supplied all the assetstie-ins have applied the same level of creative think- psychographic: a desire to be different, to make bold, needed to create an original co-branded TV spoting and consumer-creation opportunities as the ﬁnal distinctive choices and have bold, distinctive experi- through the ‘Imported from Gotham City’ campaignﬁlm in the series - The Dark Knight Rises. ences. This campaign, from BBH New York, aims to website (a play on Chrysler’s ‘Imported From Detroit’ User-generated contests that have genuine links provide them with such opportunities and immerse tagline) - including Chrysler 300 imagery and TVto the movie itself can create deep engagement with fans in the world of the Caped Crusader through cus- work, ﬁlm footage and music.both fanatical franchise fans and aspiring ﬁlmmakers. tomised experiences. The director, writer and producer of The DarkThe involvement of the ﬁlm’s iconic director Chris No- The campaign centres on an online destination Knight trilogy, Christopher Nolan, selected the win-lan provides these initiatives with genuine credibility. www.dewgothamcity.com which offers exclusive ning spot, which then debuted on TV for the ﬁlm’s Two of the stand-out consumer generation content, sneak scene peeks, trailers and storyline release. The winner also received a trip to Hollywood,partner tie-ins for this ﬁlm were those alliances with tips, as well as the chance to upload Batman-relat- professional help for the ﬁnal production of the ad, aMountain Dew/NASCAR and Chrysler. ed fan pictures. Some of this content will be open to VIP red-carpet premiere trip and a meeting with No- all, while some will require entry of a product code lan.Mountain Dew & NASCAR > A multi-brand collabora- from 20-ounce or 2-litre Mountain Dew bottles, 12- The contest was promoted by above-the-linetion between PepsiCo’s Mountain Dew, Warner Bros or 24-multi-packs, or fountain cups from restaurants work including a 60-second TV spot for the Chrys-‘The Dark Knight Rises’ and NASCAR star Dale Earn- or cinemas. The product codes will also be used to ler 300, which shows the new model being manufac-hardt Jr offered fans the chance to give Earnhardt’s offer fans the chance to win a set of exclusive Moun- tured in a Gotham City-esque environment. <No 88 car a Batman makeover for the 15 June race at tain Dew/Dark Knight Rises prizes (including a signedMichigan. copy of the movie’s script). Festival Wristbands Leveraging Diet Mountain Dew’s sponsorship of The campaign will also be supported by in-storeNASCAR legend Earnhardt Jr’s Chevy, members of point-of-purchase displays, TV advertising, radio and Despite all of the rain and the mud in the ﬁrst halfthe team’s ‘DEW Crew’ (a brand-led online club that online work. of the European festival season, one positive featureshares content around the NASCAR team) voted to of the scene has been the emergence of sponsor-select which of four Dark Knight paint schemes the Chrysler > Chrysler also linked with Warner Bros for backed wristband technology. After all, downpourscar will race in. a Dark Knight collaboration which saw ﬁlm fans be- and mud baths are things UK festival goers typically Each paint scheme captures a different element come ﬁlm makers through a user-generated contest take in their stride, but having their cash stolen andfeatured in the third and ﬁnal instalment of Christo- that invited consumers to create their own personal running out of money are two of the worst live musicpher Nolan’s Batman trilogy. Earnhardt himself will ad to mark the ﬁlm’s release. experiences involving either hours with the police or
> CONTENTS Activation Trends > 8long treks to the nearest town’s cash point. tival ﬁrsts this summer were Barclaycard’s PayBand dovetailed with the ticketing mechanism. > Click text below for links This kind of wristband technology has been tri- at London’s Wireless Festival and Samsung’s RFID PayBand Webfi lm > YouTubealled at several US events and concerts in the last 12 wristbands at Wales’ Wakestock Festival. Samsung & Wakestock > Samsung teamed up with Barclaycard PayBand > Websitemonths. Despite the expense of installing and distrib- RFID outﬁt Intellitix to make July’s Wakestock Festi- Barclaycard > Websiteuting such systems mechanics, it certainly has the Barclaycard PayBand & Wireless Festival > Thanks val a ticketless event with micro-chipped wristbands Wireless Festival > Websitepotential to make a cleaner, safer and more expansive to headline sponsor Barclaycard, July saw the Wire- used for entry and payment across the event. Wakestock > Websitefestival experience. The advent of secure contactless less Festival become the ﬁrst UK music event to be Thus the sponsor enabled Wakestock to become Samsung > Websitetechnology can solve problems with a simple swipe fully kitted out for contactless payment. The Barclay- the ﬁrst festival to use wristband technology in thisof the wrist and looks set to be wholeheartedly em- card Payband, a branded wristband for ticket hold- way - making it one of the most technically advancedbraced by the live event scene. Despite some con- ers, enables attendees to pay for goods (from booze outdoor European music events of 2012.sumer complaints about discomfort and fears about to burgers) using only contactless technology. The 15,000 wakeboarding and music festival go-being electronically tracked by brands and organ- At Wireless, the PayBand was free to customers ers at the North Wales event were all issued with RFIDisers, it seems likely that in the future most people and non-customers and Barclaycard gave festival go- wristbands that were read on arrival to validate entrygoing to live events and festivals will use some form ers the option of either loading up their bracelet with and could then be linked to the social media sites andof NFC and RFID technology for access, payment, £20-worth of electronic value on-site, or to use their pages of other attendees and used to enter sponsorbrand engagement and socialisation. own existing NFC-enabled bank card. To pay, users competitions. It also provides partners and sponsors with a simply tap their band on the payment terminal and The Samsung sponsorship hub, which took thegenuine opportunity, both brands as well as banks, to then wait for the beep and the visual indicators to form of an experiential stand, offered festival goersplay a credible role during festival season by fulﬁlling conﬁrm the transaction has completed. the chance to sample the new Samsung Galaxy Notea genuine need and solving a genuine festival goer Users are only able to spend up to the value of and Galaxy S III and to upgrade their mobiles, as wellproblem. the sum they have loaded on to their wristbands and as the ability to personalise their wristband by ‘check- The possibilities for this sort of microchip RFID the system has an auto top-up function. Band bal- ing in’ via Facebook and sharing their event experi-technology in sponsorship stretch further than the ances could be checked at Wireless Festival booths ence with friends and family online.simple tracking devices that have been so prevalent and on its website Samsung also showcased its groundbreakingin marathon running in recent years. From avoiding The PayBand also offered a range of event tips, work to enable future festival fans to use an NFC en-queues at football, to frustrating the world’s pick hospitality perks and fun (like the PayBand acti- abled mobile phone for ticketing and payments atpockets and buying drinks at nightclubs, the possi- vated photo booth) and functional features such as future events.bilities are endless. site maps and luxury toilets. It was even issued with Fans who pre-purchased Wakestock tickets were Mobile and band technologies look set to be- a gift and limited edition festival bag. The wristband sent the wrist bands by post ahead of the event, whilecome ubiquitous in festival ticketing and purchasing enables wearers’ access into the Barclaycard Unwind those who bought tickets direct from local outlets ex-and sponsors will have major opportunities to prove Perk Park. changed them for a wristband on arrival at the event.useful, fun and engaging via this new platform. Not all attendees wore a Barclaycard PayBand The objectives included secure access, eliminat- Two of those claiming to be UK wristband fes- this year at Wireless, but in the future it could be ing queues, digital socialisation and sponsor activa-
> CONTENTS Activation Trends > 9 > Click text below for links EA & Coke Challenge Europe > Website UEFA > Website McDonald’s Passion Meter > YouTube McDonald’s Passion Meter > Websitetion opportunities. Festivals organiser Stuart Gal- for sponsors. The mechanic, developed by DDB Paris, was fair-braith admitted the technology was fairly expensive But this summer at UEFA’s Euro 2012 Champi- ly simple. Supporters were invited to record a cheer into install and it was only possible because of the onship in Poland and the Ukraine, we saw a slew of support of their national team via webcam. In July, atbacking from the sponsor. But he ﬁrmly believes that official sponsors roll out fan passion measurement the end of the competition, the nation with the mostit improves the festival experience – from sharing and campaigns and devices. From Orange’s ‘Shake And passionate fans, as recorded by the online and physi-purchasing to better on-site number monitoring and Shout’ app and McDonald’s ‘Passion Meter’, to Coke cal ‘passion meters’, was rewarded.helps combat ticketing fraud. < Zero and EA’s ‘Challenge Europe’ collaboration and The campaign included both a Facebook app Sharp’s ‘FanLab’s’ initiative an entirely parallel com- and smartphone apps for both iPhone and AndroidFootball Fan Passion Apps & Euro 2012 petition took place between brands measuring pas- handsets that enabled fans to share their own cheer sion. video with friends online. The aim of this feature is to Analysing, comparing and measuring fan pas- And such activations in the football space weren’t try and drive viral spread of the campaign.sion via sponsor apps is the football activation trend just limited to Euro 2012 either. Pilsen’s Support App The digital ‘Passion Meter’ phase launched in ear-du jour. If 2011 was all about mobile app games and for Colombia’s oldest club Deportiva Independiente ly June and was followed by an experiential activationparticipation (such as Heineken’s Champions League Medellín (DIM) shows that the tactic is spreading element at ‘fan zones’ in Kiev (Ukraine) and Warsaw‘Star Player’ and Budweiser’s FA Cup ‘Man Of The right around the world. (Poland) once the matches got underway.Match’), 2012 has been the year of measuring, sharing Some may argue that such widespread use of the Country-speciﬁc web ﬁlms were seeded onlineand competing ‘fan passion’. But the summer of 2012 technique meant that no one brand truly managed to to create awareness an interest and drive viewers tohas seen so many sponsors jump on the bandwagon own the fan passion measurement space. the passion meter site online.for measuring levels of crowd support that it has be- Which begs the question, might this be the re- A key objective of this part of McDonald’s widercome a crowded space in which it is tough for any sult of too much information sharing between official Euro 2012 campaign was to help the brand connectbrand to truly stand out. Euro 2012 partners or too little? with young adults. This widened the demographic Part of the wider move towards refocusing acti- Here we showcase some of the highlights of this targeting of much of its other work, which has typi-vation away from the stars and on to the spectators trend cally focused on the family audience through ele-themselves, fan passion meters certainly succeed ments such as its Player Escort Programme which of-in turning away from the traditional focus on what’s McDonald’s ‘Passion Meter’ > McDonald’s Euro 2012 fers kids the chance to walk on to the pitch with starthappening on the pitch and what the players are do- ‘Passion Meter’ was the focus of its pan-European players at the beginning of matches.ing towards what’s happening in the stands and what digital campaign which asked fans from across the This pan-European ‘passion’ work also ran along-the fans are feeling. Continent to demonstrate their passion for the sport. side country-speciﬁc campaigns, led by a Leo Bur- The theme of ‘football fan passion’ ought to be The initiative, which was the fast food brand’s nett TVC, for its new football-themed Championshipsafe ground for official partner activation. After all, marketing spearhead for its official sponsorship of Menu – which includes the Cheese & Bacon Strikerisn’t that what good sponsorship is meant to be UEFA’s Euro 2012 international football tournament, and the Chicken Maestro burgers.based on? Amplifying, encouraging, driving and le- aimed to discover which of Europe’s football fans are McDonald’s has been an official partner of UE-veraging fan passion as long been the key objective the most passionate. FA’s Euro Championships since 1992 and its activa-
> CONTENTS Activation Trends > 10tion of these rights in this year’s Poland and Ukraine Using the copy ‘Make Noise For Your Team. Are tournament and those following it on TV. It included > Click text below for linkstournament aimed to offer a range of engagemen op- you louder than a vuvuzela?’, the initiative urges fans friend and venue ﬁnders, a feature that enabled users Orange Supporters Cup > YouTubetions for fans and families. to battle with one another during live games us- to customise photos to show their team support and Orange Supporters Cup > Website Other initiatives included backing the official ing our Orange Supporters’ Cup app to ‘show them exclusive paid-for content and highlights. Orange > WebsiteUEFA Euro 2012 Fantasy Football competition which who’s the best’. After judging its multi-market sponsorship of this Orange > Facebookruns on the organising body’s own website (echoing Participation was driven by the lure of prizes that year’s African Cup Of Nations a success, Orange’s Sharp Fan Labs > YouTubea similar initiative the fast food chain ran to leverage ranged from instant wins like PlayStation Vitas and Euro 2012 activation was its ﬁrst ever, continent-wide Sharp Fan Labs > Websiteits FIFA World Cup 2010 rights). Sony Xperia smartphones, to tickets to the tourna- digital initiative in Europe. The telecoms ﬁrm activat- UEFA > Website Also, on McDonald’s Facebook page, was an- ment itself. ed across 11 markets, including Spain, Poland, France,other Euro 2012 game-led initiative called ‘The Great Online executions promoted the app and urged the UK, Slovakia. Thus making Euro 2012 the brand’sPlayoff ’. It featured a set of online games for children supporters of all 16 countries playing in UEFA’s Euro biggest ever pan-European sponsorshipincluding ‘Crowdy Catch’, ‘Hero Or Zero’ and ‘Mexican 2012 to participate and share their predictions, im- Orange also provided direct support and ser-Wave’. pressions, disappointments and happiest moments vices by acting as the exclusive telecommunications The brand will hope that this array of tactical across its Facebook, Twitter, Google+ pages and on partner in Poland – providing everything from IT so-campaigns will ensure that it tapped into the Euro- its tournament-speciﬁc Supporters Cup microsite. lutions at the stadium, to the networks and technol-pean and worldwide coverage of the championship, The site also gave users the chance to listen to ogy services which are part of UEFA’s solution to itswhich UEFA itself predicted will rival FIFA’s World supporters’ playlists, create and share their own cus- Broadcaster Partners who will distribute the tourna-Cup and draw an average 150 million fans per match. tomised kits, support their teams on Twitter via the ment around the world. #supporterscup hashtag whose feed is routed backOrange ‘Supporters Cup: Shake & Shout’ > UEFA to the home page and watch the teaser ﬁlm made by Sharp ‘FanLabs’ > Sharp led its UEFA’s Euro 2012Euro 2012 partner Orange also turned to apps to front Orange ‘shock jock reporter’ Edouard. activation with an insight project into fan behaviourits biggest sponsorship rights activation to date. Or- The site also offered the chance to win prizes and called ‘FanLabs’. Not entirely restricted to fan pas-ange leveraged its official status to try and connect earn points to win tickets and a VIP bus trip. Each sion, this was a slightly more serious initiative thatits customers to the tournament and engage po- week the best supporter video submitted to the site aimed to discover more about European football fantential new customers through both digital, second will be uploaded and made available for everyone to culture and passion through biometric data and sur-screen and mobile experiences. watch. veys. The mobile telecoms brand launched two free Orange was also behind the official pan-Euro- Thus ensuring the brand stayed true to its com-apps to tap into the expected surge in mobile market- pean Euro 2012 app in partnership with rights owner pany roots in technology research.ing and dual-screen viewing through the tournament. UEFA. This was a utility-led initiative with a range of To gather the data, the FanLab truck (a mobile The France Telecom outﬁt rolled out its own features from geolocation and augmented reality laboratory) had a big screen showing matches and‘Supporters Cup Shake & Shout’ app. This is effec- technologies. Launched in April, the main app promo- 16 places for fans upon which experts take biomet-tively a live competition to see which fans can record tion came in the lead-up to kick-off, and the tool was ric tests to obtain insights into the range of emotionsthe loudest cheer. designed to be genuinely useful to fans both at the fans experience while watching a match.
> CONTENTS Activation Trends > 11 > Click text below for links Pilsen DIM Fan Passion App > YouTube Bavaria > Website The truck went on a pre-tournament tour and deliver us undiscovered knowledge and unrivalled a mobile app that leverages its sponsorship of thethen operated at ‘fan zones’ in host nations Poland insights into football fans across Europe. About their country’s oldest club Deportiva Independiente Me-and Ukraine. The research lab fed its ﬁndings back to hopes, their rivalries, their match predictions, their dellín (DIM).a core information centre and the data results were banter and their emotions. DIM, who currently play in the Colombian ﬁrst di-then made available on the sponsor’s campaign hub ‘We’re investigating fans’ passions with the help vision, are a legendary team in the country with ﬁveat www.sharpfanlabs.com. of neuroscientiﬁc technologies and biometry, along national championships. Nicknamed the ‘Poderoso’ There was also an app, with a sister website, that with playful surveys in an experiment we’re describ- (‘The Mighty’), the team is perhaps even more wellused a series of questions to place each fan within ing as the “fan passion score”. The experiment is known in South and Central America for the extremea matrix of fan behaviour. These were based on the made up of several components and delivers com- passion displayed by its supporters.twin variables of “optimism” (your emotional support pletely new impressions of and information about the So official beer sponsor Pilsen took on the chal-of the team) and “commitment” (your tangible dem- dedication and the differing mentalities of European lenge of ﬁnding out just how committed the team’sonstration of that support), with a fan scoring highly fans,’ explains Molyneux. fans actually are.on both dubbed a “12th man”‘ and its polar opposite, Sharp signed up in September 2010 as official Working with DDB (Bogota), the sponsor built“the Sightseer”. sponsor for UEFA EURO 2012 and EUROTOP part- an app which notiﬁes the user when a DIM match is The initiative, set up by London agency Work ner covering all national team competitions within the about to kick off and then measures the intensity ofClub, aimed to offer European football supporters programme until the end of 2013. the user’s movements and voice (jumps and shouts)a chance to actively take part in this socio-cultural Under the agreement Sharp became the exclu- during the game. It’s user interface displays a graphstudy of fan culture and passion. Sharp’s objective sive partner of audiovisual equipment and solar-relat- of individual supporter passion throughout the 90was to work out which fans are the most passionate ed products for UEFA’s ﬂagship national team com- minutes of the match and gives each fan a personalabout football and who is prepared to go the furthest petition, Euro 2012, hosted in Poland and Ukraine. score.in support of their team. The EUROTOP commercial programme relates These scores can then be shared on Facebook The idea is that the app and truck research to the sponsorship of UEFA’s top national team com- and Twitter so fans can compare their commitmentformed a live, dynamic tool in the build up to the com- petitions. with one another and build friendship group commit-petition and during the tournament itself. By asking As part of the wider sponsorship deal, which ment and passion league tables.questions throughout the tournament, it observed includes integrated broadcast sponsorship rights in Pilsen is owned by Bavaria SA, the largest drinkshow fans optimism and mood rises and falls. Europe, Sharp aalso activated various football-led company of Colombia, and owns a range of other Co- In addition, it aims to ﬁnd answers to questions marketing campaigns to enhance brand awareness lombian beer brands including Águila, Águila Light,such as what it actually means to be a fan. and provide UEFA with leading-edge audiovisual Club Colombia, Cola & Pola, Costeña, Costeñita, Per- ‘We want to understand fans more and grasp products and solutions to help deliver best-in-class oni, Pilsen, Póker, Redd’s and Pony Malta.their enthusiasm and passion – so we created Sharp national team competitions. Pilsen has been an official sponsor of the club forFanLabs,’ says Sharp Europe CEO Paul Molyneux. more than seven years and is the team’s main shirt‘FanLabs operates at the point where sport is com- Pilsen’s ‘DIM Passion Meter’ > Beer brand Pilsen is sponsor. But eyeballs on a logo is no longer enoughbined with science, and science with passion. It will measuring Colombian football fan passion levels with in contemporary sponsorship, so supporting activa-
> CONTENTS Activation Trends > 12tions like this that engage the fans and contribute to Launched in Sweden in October 2008, Spotify Even its Olympic sponsorship activation, Move > Click text below for linksthe live spectator experience are a necessity. now boasts 10 million-plus users and is available in 16 To The Beat, has placed music at its heart. Super pro- Coca-Cola/Spotify Hackden > YouTube In response to some of the concerns over second countries on both sides of the Atlantic. ducer Mark Ronson fronts its creative, and penned its Coca-Cola My Beat Maker > Websitescreening initiatives, this Pilsen app doesn’t encour- Spotify’s funding model combines paid subscrip- ‘Anywhere In The World’ campaign anthem, while ‘My Coca-Cola Olympic Games > Websiteage fans to shift their attention away from the game tions, in-stream ads for non-subscribers, music pur- Beat Maker’ app detects user movement and con- Coca-Cola > Websiteto a supporting screen or secondary device. Instead, chases from partner retailers and brand partnerships. verts it into music (thus enabling users to make their Spotify > Websiteit remains in a pocket and records jumps and cheers But the summer of 2012 has seen Spotify try to evolve own beats which they can upload to brand’s globalwithout taking attention away from the live action. its brand partnerships into richer, more symbiotic re- music collaboration site The Global Beat and share An initiative like this means less direct fan-brand lationships. with the world).interaction, but also less disruption. At the forefront of this trend has been its collabo- The IOC TOP sponsor also has an additional mu- It should also lead to better in stadium atmo- rations with music and festival sponsors. sic-led, Spotify-powered Olympics app this summerspheres and drive higher levels of support through Spotify founder Daniel Ek refers to the company called London Calling. This second app has been pro-competitive passion. And for those who love watch- as ‘platform’ rather than merely a ‘streaming service’ duced as part of a wider, new collaboration betweening live football that can only be a good thing. < and this summer we have certainly seen several mu- the giant behemoth and music streaming service. sic festival sponsors trying to develop a festival-goer The tie-in emerged from a US-based HackdenMusic Sponsors & Spotify branded experience within Spotify. event in April which pooled leading hackers, app de- Perhaps, for brands heavily involved in the mu- velopers and brand professionals tasked to create the One stand-out leverage trend in the 2012 mu- sic space, having a Spotify app will become more next wave of Coca-Cola music experiences.sic and summer festival scene has been the rise in important than activating on other new technology Following this initial collaboration, the summerpartnerships between sponsors and digital music platforms like Pinterest or Instagram because of the saw Coca-Cola and Spotify announce a new globalplatforms. From Pepsi’s work with online radio sta- emotional role and pulling power that music has on partnership. The deal, which is officially described astion Pandora at The GRAMMYs to Skol’s tie-in with people’s everyday lives. a sponsorship initiative but might more accurately beGoogle+, YouTube and Orkut at Salvador Carnival in Of course, there is a danger that some music fans called it a brand collaboration, will see Spotify will beBrazil, big brands are increasingly linking with new will see Spotify ads as an interruption. part of Coke’s music-themed global marketing cam-tech-led digital music services to activate music For these partnerships to succeed, the activa- paign throughout the next year.sponsorships by gig goers and festival fans discover tion needs to amplify to festival, music discovery and While the cola brand will partner on Spotify’snew bands, personalise playlists and share music. At listening experience without unauthentic injection of international expansion, the streaming music ser-the forefront of this trend have been a number of al- their brands and products into the experience. vice will gain huge exposure from Coca-Cola’s globalliances between music space sponsors and Spotify. Here are some of this summer’s music and festi- reach. Spotify offers digitally restricted streaming of at val sponsor Spotify partnerships. Within this collaboration Spotify technology willleast 15 million songs from major and independent la- be used for Coca-Cola Music’s global activity in re-bels and enables users to play tracks, discover new Coca-Cola Partners With Spotify > Music has been turn for the drinks giant integrating Spotify into itsmusic and share it. at the forefront of Coca-Cola’s marketing in 2012. online and social media presence. While Coke will
> CONTENTS Activation Trends > 13 > Click text below for links Kopparberg > Facebook Kopparberg > Website Heineken > Facebook Heineken > Websitesupport Spotify as it launches its music services into generator for the UK’s summer music festival scene. It also connects the brand with a wide range ofnew markets around the world next year. To create a 10-track playlist, users simply log in to music lovers with very different tastes – something As part of the new deal Spotify will release its the Facebook page, select a festival and use a ‘guitar that sponsoring a single festival can fail to achieve.new iPad app in tandem with Coca-Cola – thus join- pick’ interface to select the three artists playing that Kopparberg’s UK MD Davin Nugent claims thating the company as a global sponsor. festival in whom they are most interested in. its marketing activity, much of which is based around This initiative builds on previous ties between Co- They then have the choice of building a playlist the summer festival scene and word of mouth ratherca-Cola and Spotify after the drinks giant offered its either based only on artists at that festival, or creat- than traditional above-the-line advertising, has led toTwitter followers a free trial Spotify subscription offer. ing a song list based on artists similar to the three a 65% sale increase in the last year. This is an original example of brand collaboration they have picked regardless of which festival they arewhere two companies have matching strategies and playing at this year. Heineken’s Finnish Festival Playlist App > Early Junestrengths which can beneﬁt one another. Coca-Cola Playlists can then be dragged into Spotify, or the saw the international beer brand launch a user-gen-offers its amazing international reach to help Spo- festival’s own radio station can be opened via Last.fm erated playlist competition for Finnish music festivalstify’s global expansion, whilst Spotify’s music tech- The app’s objective is also to enable users to ex- called ‘Playlist Guru’.nology offers Coke access a wealth of music content plore new music by artist, or by browsing other us- Heineken collaborated with Finnish agency 358possibilities for its marketing. ers’ festival playlists, as well as being able to work out Helsinki to build a Facebook-based music tool that Whether this is a sponsorship, a partnership or which festivals are being most talked about (some- enables users to create Spotify playlists for threejust a deal, we are sure to see more of such mutually thing worked out by which are the most ‘scrobbled’ Finnish music festivals: Turku Modern, Kuudes Aistibeneﬁcial link-ups in the future. festival artists, which have the most Last.fm at- and Blockfest. tendees and which have the most playlists created Users simply pick one of the three festivals, cre-Kopparberg’s Spotify & Last.fm Festival App > This through the Kopparberg app. ate their own playlist and then hope the others par-summer sees Kopparberg collaborate with both live ‘Kopparberg is proud to bring this innovative app ticipating in the campaign and festivalgoer’s vote formusic streaming service Spotify and the world’s larg- to festival and music lovers – using Spotify’s fantastic their playlists.est online music catalogue Last.fm to create the Kop- content and Last.fm’s music discovery service means Each user’s playlists can consist of 20 tracks andparberg Festival Player App. this is a totally unique app,’ says Kopparberg Head of can be made available to other users and festival go- This joint cider and music brand initiative, de- Marketing, Rob Calder. ‘The partnership elevates our ers who are also able to comment on them or justvised by media and buying agency Arena Media, is continued support of new music and festivals allow- ‘Like’ them.the ﬁrst time these two music services, both of which ing us to shine a spotlight on the talent of 2012 and There is a competition element to the initiativeare at the forefront of the contemporary music plat- give something back to our 110,000 Facebook fans.’ which enters those who created the most popularform revolution, have teamed up. This is a neat music app that looks set to enhance playlists into a draw for festival tickets. The app, developed by Arena media, is accessed Kopparberg’s sponsorship or pouring rights presence Furthermore, the most successful and popularvia Kopparberg’s UK Facebook page and blends Last. at 15 or more UK festivals in 2012. These range from creators will also have their own playlists getting air-fm’s intuitive listening data with Spotify’s live stream- sponsored stages at Field Day, Apple Cart and Rock- time on Finnish radio stationbasso.ﬁ.ing to create a fresh and consumer-friendly playlist ness, to Streetfest and the Lomond Folk festival. A shareable and simple method of amplifying the
> CONTENTS Activation Trends > 14beer brand’s festival sponsorship. < EDF’s ‘Energy Of The Nation’ > With the Games just point for uploading and gathering together tweets, > Click text below for links a few days away, EDF switched focus from ‘loyalty’ videos and posts to create user generated content EDF Energy Of The Nation > WebsiteReal-Time Mood Capture to patriotism with a campaign aiming to measure the about the Games. The best of this will be incorpo- EDF Energy > Website country’s Olympic mood and express it on a daily rated into McDonald’s Games advertising. London Eye > Website Low latency response has been an increasingly basis. With help from agency Ignite, and using data The work includes roving guerrilla ﬁlm crews McDonald’s > Facebookimportant feature for sponsor activation as official sourced from 10 million UK Twitter accounts, this day- shooting the emotions of those watching the com- McDonald’s > Websitepartners leverage their rights by reacting to events by-day reﬂection of the host nation’s Games enthusi- petition at official fan parks and in cities around theas close to ‘live’ as they are able. In London 2012 one asm will be spearheaded by an illuminating light show country. People will be invited to upload their ownaspect of this trend has seen a focus on live expres- on the EDF sponsored London Eye. videos and photographs onto Facebook and the bestsions of crowd mood. The campaign aims to amplify and express the content will be incorporated into TV advertising in- By monitoring national sentiment on real time highs and lows of the nation’s feelings about the cluding its closing ceremony ad and outdoor adver-digital platforms like Twitter, or via roving physical TV Olympic drama with a nightly 9pm light show and it tising including the Piccadilly Lights in London.crews, brands can track event enthusiasm and reac- will highlight EDF’s status both as official electricity There is also a question-and-answer drivention and then use this as the core of their ongoing, supplier and a sustainability partner of London 2012 ‘mood-o-meter’ on the company website as well asin-event activation. and as the sponsor of the London Eye itself. outdoor digital sites, reﬂecting the mood of the na- For the ﬁrst time ever at an Olympics, Twitter is The campaign is a multi-channel push that in- tion in real-time and encouraging everyone to playlifting the veil on Olympic life: from positive tweets cludes PR and above-the-line work, but heavily fo- their own part in ‘making’ the Games.about the range and quality of food in the athletes’ cused on digital platforms. This activity occurs in the second stage (the dur-canteen and negative complaints from athletes lost In addition to the work at the London Eye itself, ing the Games phase) of the three stage campaign.in London traffic, to insider insights into the life of the the campaign includes a supporting hub website, as The wider 10-week initiative, developed by Leosporting stars such as pictures of Team GB swimmer well as an Energy2012 mobile app and an Energy of Burnett (with media planning and buying by OMD),Rebecca Adlington’s messy room. the Nation Facebook app. also includes traditional outdoor, press and TV work), During the Beijing Games Twitter was in its ear- The interactive Energy Map offers consumer the focuses on personal stories from those around the fanly adopter infancy stage and there were only a few chance to explore how the country is feeling about parks and throughout the city centre, documentary-hundred thousand tweets per day. For London 2012 London 2012 in detail. It enables consumers to zoom style material, user-generated content, social media,the platform is maturing fast and there are more than in one feelings and areas and to interact with tweets as well as major outdoor sites such as its Piccadilly400 million tweets per day. from around the country and explore the Olympic Lights London ﬂagship space and the interior of its This kind of Twitter-led campaign reﬂects a wider buzz. ﬂagship Olympic Park restaurant.trend both for athletes and fans and offers the chance The aim of the campaign is to capture people’sto create campaigns that are the ﬁrst of their kind. McDonald’s ‘We All Make The Games’ > One key ele- emotions, humour and experiences in real time, and Two Olympic examples to follow are campaigns ment of McDonald’s everyman-focused London 2012 for the work to become a barometer for the mood offrom IOC partner McDonald’s and LOCOG tier one ‘We All Make The Games’ campaign, sees digital ac- the nation during the Games. <sponsor EDF. tivity from Razorﬁsh that uses Facebook as a focal
> CONTENTS Activation Trends > 15 > Click text below for links Show Your City > YouTube Man City FC > Website Umbro > Website Warrior Webfi lm > YouTube Liverpool Shirt Launch > YouTube Liverpool FC > WebsiteShirt Launch Innovation City, last season’s Premier League winners, and alive in the new away kit. The best dressed defending Umbro launched the new kit with Gallagher joining champions of all time? No doubt.’ The increasingly innovative marketing strategies team captain Vincent Kompany for the launch. This is the last Umbro kit for City, after the Man-and tactics of the major sports clothing brands and But perhaps the most interesting aspect of the chester-based sports brand was dumped in favour ofequipment manufacturers are now being applied to launch sees Umbro and City invite fans to come up a new six-year kit deal with Umbro’s parent Nike inthe formerly old school club shirt launch campaign. with ideas to launch the kits. Between the PR launch a deal thought to be worth as much as £12m a year.What was once largely a PR junket that featured a few and when the shirts go on sale (the away kit goes on The two new shirts take quite different designstar players, a press release describing how the new sale from 14 July, while the home kit on 26 July) a se- paths. The home kit keeps City’s familiar sky bluekit connects with and builds upon the club’s heritage, ries of ‘Show Your City’ fan launches will be released. colour and incorporates black detailing and trima photographer and several football hacks desperate This initiative encourages fans to upload their which takes inﬂuence from the 1969 FA Cup and 1970for some soccer news to report during the off season, own creative ideas from the campaign microsite. League Cup winning uniforms. But the new sway stripis increasingly becoming a major engagement oppor- These start with pictures captured by music pho- goes back to the maroon colour worn by the FA Cuptunity for club, manufacturer and sponsor. tographer and City fan Kevin Cummins. Cummins winning teams of 1934 and 1956. This trend has really heated up this season as is most famous for his photos of iconic Manchester Umbro is almost 90 years old and is the longnew kit brands try and make a splash as they enter bands such as Joy Division, The Smiths and The Stone term kit supplier to the England football team withthe highly competitive European football market- Roses and took the shots of Gallagher and Kompany which it has a contract to 2018.place for the ﬁrst time. Under Armour’s added a hint in Belgium for the initial stage of the campaign.of clubbing style mystery to its ‘secret gig-style’ hid- Belgian Kompany surprised music fans at the Liverpool’s Social Warrior > Liverpool’s new 2012/13den warehouse launch event to unveil its ﬁrst kit for Rock Werchter music festival in his home country by shirt launch was its ﬁrst venture following a £25-mil-Tottenham Hotspur. Arsenal went down the route of introducing Gallagher on stage prior to the musician’s lion-per-year kit deal with new partner Warrior. A sumthe cheeky mini online ﬁlm for its new kit launch, while performance. The 80,000-strong crowd cheered as which was a record amount when the deal was ﬁrstNike chose a Hollywood-style event for its ﬁrst range the Belgian centreback embraced the musician on announced last year. The partnership marked War-of NFL uniforms after taking over the centralised NFL the main stage before his set. rior’s ﬁrst foray into the football world. Its previouscontract from Reebok with a launch that looked like a Manchester City captain Vincent Kompany said powerbase has been in lacrosse and ice hockey.red carpet movie premiere. of the launch event: ‘I always look forward to return- Liverpool FC is the world’s fourth best sell- ing to Belgium but this really was a special occasion ing strip globally. The club reportedly shifts aroundMan City’s ‘Show Your City’ > You can’t escape mu- and a moment to savour. Noel is obviously a huge star 900,000 shirts annually. This is an impressive num-sic-led campaigns in the sports space at the moment. so I was happy to introduce him in front of 80,000 ber beaten only by a handful of clubs including Man- Led by Olympic sponsor activation such as Coca- fans in my home country.’ chester United, Real Madrid and Barcelona.Cola’s ‘Move To the Beat’, Adidas’ Wretch 32-led ‘#Ta- While Gallagher himself commented: ‘The new Boston-based Warrior, which was founded bykeTheStage’ and Omega’s ‘ Start Me Up’, now comes home kit is pure class. It might be the best one a former Lacrosse player, was acquired in 2004 byManchester City using Noel Gallagher to launch its we’ve had in a decade. As modern and radical as it is sports giant New Balance. It takes over the club’snew 2012/2013 kit. though, it’s nice to see Umbro keeping our heritage shirt partnership from previous incumbent and Euro-
> CONTENTS Activation Trends > 16pean soccer powerhouse adidas. Adidas had held the ers, Liverpool’s head of content. east of the country, has linked with the Brazilian > Click text below for linkscontract since 2006. ‘We were keen to maximise the reach of all of Health Ministry and the local Salvador medical com- Vitoria FC Shirt Launch > YouTube With the new-to-football brand keen to impress, our social media channels including our new YouTube munity on a blood donation campaign that revolves Shirt Launch Campaign > Websitetheir ﬁrst kit launch was more than just the usual blend channel as well as Pinterest and Tumblr.’ around the team’s iconic red and black hooped shirt. Vitoria FC > Websiteof press release, media event and player pictures. The As for the shirt itself, an eternal ﬂame and the The campaign, ‘My Blood is Red and Black’, re-new kit sponsor released its own pre-launch online number 96 is embossed at the base of the neck on volves around the club’s classic shirt. The side hasteaser ﬁlm showcasing its ‘expect us’ – as it solidiﬁes the back of the jersey by way of tribute to the 96 fans temporarily removed the red to focus fan attentionits link with Liverpool. The creative is based on real who died in the Hillsborough Disaster in 1989. on the importance of blood donation and ‘doinglife footage in the city and around the stadium and The club and new partner Warrior will hope the something amazing’. The red has been swapped forfeature’s guerrilla style messaging, graffiti and player new kit will help the club recapture its dominance of white stripes and the club will change back one redprojections, the brand and the tagline onto neigh- the English and European game in the 70s and 80s. hoop according to the campaign’s success. Once suf-bourhood walls and the side of the stadium. Especially after a disappointing season. ﬁcient numbers of supporters have donated blood, The video ntegrates with the umbrella Liverpool the shirt will be restored to its classic colours.activation through the #LFCkit hashtag – aiming to Vitoria FC’s Brazilian Blood Donation > Teams The campaign began with the shirt change anddrive social media conversation about the brand, club and sponsors are also tying shirt launches into their was launched at a recent match which saw the teamand the new kit. To date there have been tens of thou- CSR programmes. Footballers and football clubs are carry a ﬂag out on to the pitch proclaiming ‘Vitoriasands of tweets using the hashtag which was trend- often criticised for their behaviour and ﬁnances, but has always given its blood for you. It’s time for you toing worldwide on the day after the kit launch. such campaigns can help combat the clichés and give yours. Join the campaign for blood donation that The pre-launch Warrior ﬁlm has 80,000 views, negativity that can surround the game. will bring the colours of the uniform Victoria back.’while within 10 days of the launch the actual kit launch The last few years has seen several stand out Fans are encouraged to visit the team’s Facebookvideo has racked up more than 500,000 YouTube initiatives, including Barcelona’s ﬁve-year initiative page at http://www.meusanguerubronegro.com.brviews. This main launch ﬁlm was seeded across the which saw it pay UNICEF to wear the organisation’s for the details on how to participate and donate.web and social media. It follows the usual pattern of logo on its shirt (which was replaced by last year’s To further boost the campaign message the clubblending some behind the scenes shots of the new £125m commercial deal with the education-focused has created a supporting web ﬁlm hosted on thestrip photo shoot, with a set of interviews and quotes Qatar Foundation), Aston Villa’s former shirt deal with team’s site and seeded across the internet. The videofrom players as well as new kit imagery. local children’s hospice Acorns and Vasco Da Gama’s includes a link to a Facebook page . ‘When we sat down to work out our content plan anti-racist shirt initiative with kit brand Penalty. ‘We wanted to do more than just ask fans to givearound the ‘reveal’ of the new LFC kit, social media The most recent eye catching CSR launch came blood,’ says club president Alexi Portela. ‘With thiswas at the forefront of our thinking. We know from from Brazilian club Vitoria FC. The beautiful game, it initiative, fans can participate more actively in thepast experience that kit reveals generate enormous seems, is in the blood of most Brazilians, but Vitoria’s campaign and will see the importance of a gestureexcitement amongst fans and we wanted to reach latest campaign aims to see if its fans are willing to like this that can help save countless lives.’out to and engage with as many supporters as pos- give their red stuff away. The initiative follows a nationwide drive to en-sible when the clock struck midnight,’ said Paul Rog- The Serie B team, founded in 1899 in the north courage people in Brazil to donate blood for trans-
> CONTENTS Activation Trends > 17 > Click text below for links Emirates Air Line Webfi lm > YouTube Emirates Air Line > Website Virgin Media Tube Wi-Fi > Websitefusions. Blood donations fall as much as 25% dur- official games partner) and Virgin Media (BT is the tisers from splash page banners to augmented realitying school holidays, so like football, donations tend official telecoms partner) – by tying up deals with and QR code campaigns. Debut advertisers includeto stop in July. This programme aims to reverse that Transport For London (TFL) Renault and eBay and Virgin Media has also estab-trend. lished tie-ups with Spotify, Time Out and MyMovies. Other clubs are also joining the initiative. In June Emirates Air Line Cable Car > Airline Emirates spon- net to host branded content on the networkSao Paulo, one of Brazil’s biggest clubs, put the slo- sors TFL’s new state-of-the-art cable car across the According to Virgin, more than one milliongan ‘Give Blood’ on its shirts for a game in another Thames. This smart move saw the Dubai-based air- tweets, Facebook posts, emails and web pages wereattempt to help raise awareness of the importance of line invest £36m in return for the 10-year naming being sent via the service by mid July. <blood donations. rights to a new river crossing transport link connect- Furthermore, the percentage of blood donors in ing Greenwich with the Royal Docks.Brazil is currently only at 2%. The World Health Or- The Emirates Cable Car crosses the every 30-sec-ganisation recommends the number should be 3%. onds and can carry 2,500 passengers per hour and Many football fans across the world claim to its East London location and impressive skyline archi-bleed the club’s colours, the supporters of this one tecture means that it is likely to get a great deal ofclub now have the chance to prove it. Games media coverage and airtime. Vitoria is one of the favourites to achieve promo- The naming rights also get the brand on to thetion this season and perhaps the blood campaign will iconic London Underground mapboost its chances. In their ﬁrst red-less shirt matchthey beat Avai 2-0. < Virgin Wi-Fi’s London Underground > Virgin Media signed a ﬁve-year deal with The Greater London Au-Host City Transport Ambush thority to be the ﬁrst wi-ﬁ provider for the London Underground network and has switched on the sys- The London Olympics has seen the rise of a semi- tem in June and July in the lead up to the Games. Upofficial alternative to the more familiar ambush ap- to 120 stations will be connected to free wi-ﬁ by theproaches of the tongue-in-cheek-association and the time the initial phase of the project is completedpublicity stunt – the host city transport sponsorship. This enabled the company to run an integratedBy becoming an official partner of a ﬁxed transport campaign across the city promoting the arrival of theproperty, brands can be seen to support genuine new service – giving it a strong visual presence acrossutilities for fans and market their associations without the underground network in and amongst other ma-falling foul of host city anti-ambush legislation. jor tube activation by official Olympic sponsors (no- In London this has seen some shrewd sponsors tably EDF).ambush arch rivals who are official London 2012 part- It also functions as a brand new central Londonners – most notably Emirates (British Airways is an media channel for Virgin to sell space to other adver-
Olympic Revolution: IOC Overhauls TOP Still not entirely convinced that sponsorship is undergoing a revolution? Well, the IOC is! The world’s most famous and valuable property owner recognises that a radical shift is taking place. Changeis necessary – even for the mighty Olympic Games. As London 2012 begins, Activative Platform talks with IOC Director Of Marketing and Television Timo Lumme about the organisation’s sponsorship strategy and the review of its TOP partnership framework as the Olympic movement adapts to the new realities of today’s sponsorship landscape.
> CONTENTS Rights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 19 As the starting pistol ﬁres for the London scape.Olympics, the International Olympic Committee But what is driving this change and how is the ‘Nowadays partners are regularly(IOC) will also begin a major review of The Olym-pic Partner (TOP) programme. Olympic sponsorship programme adapting to the new reality and making the most of new oppor- pushing the envelope in terms of The global Olympic partner programme, the tunities? defining and redefining what a sponsorworld’s most valuable sponsorship scheme, willundergo a signiﬁcant overhaul as the IOC under- New Landscape: Added Value Relationships > actually is. There is a big picture shiftgoes a period of restructuring. When TOP was launched in its original guise in Despite TOP’s status as the world’s richest 1985 it was groundbreaking for the sports spon- from “awareness” to “engagement”. Thispartnership property - in 1988 it was reportedto be worth just $96m, but by London 2012 its sorship industry and a major step forward for the IOC. There is little doubt that it has proven very matches the ever-growing importance ofvalue has swelled to a staggering $1bn – the IOC successful over the years – as demonstrated by adding value through activation, so ouris starting a modernisation review. the fact that several of the original partners are ‘We will do a very deep dive in terms of a still on board. partners are continually reinventing thegrassroots review of the programme,’ says IOC Di- But the IOC admits that the business land-rector Of Marketing and Television Timo Lumme. scape and sports marketing has changed dra- very definition of being a sponsor.’ From pricing and product categories, to matically since then and it is important to adaptrights, timelines, media platforms, geography to the changing marketplace both for itself andand stakeholder structure, most of the pillars that for its partners. Timo Lummehave underpinned the programme for the last 25 Future facing technologies, new communi-years will be reassessed. cations channels and the rise of social media are Director Of Marketing And Television The IOC conﬁrms it will look at every part of combining with a global economic shift, the risethe programme but it is open minded about the of the BRIC markets and the continued increase IOCoutcome. It says that it may be that very little is in the sponsorship sums being raised by domesticaltered, just a few tweaks and category adjust- deals and host nation organising committees.ments, or it may result in major changes. According to Lumme, the very nature of The IOC says that the process will start in sponsorship itself is undergoing a redeﬁnition.earnest after London and describes the process ‘Nowadays partners are regularly pushingas extremely thorough, but not one with a rigid the envelope in terms of deﬁning and redeﬁn-framework or deadline. ing what a sponsor actually is,’ explains Lumme. The IOC has no existing TOP contracts last- ‘There is a big picture shift from “awareness” toing beyond 2020 (although it has seven partners “engagement”. This matches the ever growing im-signed up until that date) and will not sign deals portance of ‘adding value through activation’, sobeyond then until the process has been com- our partners are continually reinventing the verypleted. No new IOC deals beyond 2020 will be deﬁnition of being a sponsor.’sought or signed until the programme has been This is perhaps more relevant to consumerreshaped: an exercise that Lumme aims to com- facing companies where there is a clear evolvingplete before the start of the Rio 2016 Olympics. trend from ‘awareness’ through ‘appeal’, to ‘how Current partners will be included in the re- you approach a consumer’ and ‘how you buildview. The IOC will sit down with them and discuss your consumer relationships’.their thoughts, ideas and needs. ‘Adding value to people’s lives is key and in The review, which will also examine how the order to do this brands must develop both directorganisation can provide new metrics and greater and indirect conversations with them,’ arguesmeasurement scrutiny, aims to ensure that the Lumme.IOC continues to deliver an unmatched level of While this trend may be more pressing for thevalue for its partners in light of a combination of IOC’s consumer brands, Lumme believes that it isfactors that is reshaping the sponsorship land- also relevant to the more traditional industrial and
> CONTENTSRights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 20 business focused companies. ning, staging and funding of the London 2012 ‘It might be the case that our partners GE Games (as opposed to the Olympic Delivery and Dow place slightly less emphasis on brand Authority – the public body responsible for the and engagement than Coca-Cola and McDon- buildings and infrastructure) has a core budget ald’s, but it is nevertheless growing in impor- of £2bn. Most of this is raised from the private tance for them too.’ sector. Companies need a deeper ‘buy in’ than ever While LOCOG receives income from the before, Lumme argues and he says the review is IOC, as well as from ticket sales (reported to ac- essential to ensure that ‘Olympism’ remains the count for 25% of the income) and merchandise, most compelling international platform when it the majority of the revenue comes from domes- comes to engagement and adding value. tic, national sponsors. Lumme also points to the new big picture While LOCOG will not publish official ac- objectives that some of its newer partners have counts until after the Games end, it is reported for their Olympic rights. to have already raised between £700m and ‘Our partners have different objectives and £800m from its domestic sponsorship pro- are using the games in new ways,’ he says. ‘Just gramme. It has signed up an impressive seven look at how two of them, Panasonic and P&G, official tier one partners, seven tier two official are using their Olympic relationships as the supporters and a further 28 official providers focal point for developing their masterbrand and suppliers. structures and umbrella values.’ London’s impressive feat is by no means a one-off. Two recent record-breaking deals in- Economic & Geographic Change > The chang- volving four domestic sponsors for the Rio 2016 ing economic landscape - with the end of the games have been reported to have raised about traditional Western world dominance of the £430m alone. global economy, the rise of growth countries These two trends seem to create a genuine (particularly the BRIC economies) and the in- need for the IOC to review and respond – al- creasing shift of commercial power to Asian and though stability and liquidity will be two crucial Eastern markets – is a key factor to put into the factors to consider. review mix. ‘There’s an argument to say that you could As are the ever increasing sums that nation- certainly look at the pricing,’ admits Lumme. al sponsors and organising committees (which are private companies) are raising. It is vital to Technology Revolution > The IOC will also have understand that the IOC effectively runs a form to chart a new course across a radically evolv- of franchise model. While it directly oversees ing communication landscape driven by rapid Olympic broadcast rights and TOP, it is the Or- changes in technology from social media and ganising Committees For The Olympic Games online video, to digital TV and smartphones. (OCOGs) themselves that run each Games Some sponsors, even some of those who event. So while there are a couple of hundred are part of the IOC partner family like VP of permanent IOC employees, organising com- Global Partnerships at Coca-Cola Scott Mc- mittees grow to thousands of staff members in Cune, have gone as far as saying that such fu- their life cycle. ture facing technologies have broken the Olym- As the 2012 Games begin, the London Or- pic content supply chain. ganising Committee Of The Olympic And Para- The fragmentation of the media landscape lympic Games (LOCOG) is already ahead of its means that it is increasingly difficult for the initial revenue raising targets. IOC and the organising committees to control LOCOG, which is responsible for the plan- Olympic content. It is tougher than ever before
> CONTENTS Rights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 21to clearly segment intellectual property, content and guided by the idea of ‘responsibility’ and describe its personal Facebook and Twitter sites and unlock se- ‘Obviously we take the notion ofchannels between sponsors and broadcasters. own official usage guidelines as ‘a common-sense- cret training tips from Olympic legends. protecting our rights very, very The IOC will also seek alternative answers to led rule of thumb’. To its critics it is an official, authorised attempt seriously. But our main approachadapt to these changes. “It could be that the lines be- ‘We want people – from athletes and partners to to marshal and control Olympic-related social me- is education rather than policingtween what is a broadcaster and what is a sponsor spectators and TV viewers – to use these channels. dia content. To its supporters it is another valuable and litigation. Educating themay blur,” says Mr Lumme. We really do,’ says Lumme. ‘We don’t want to be one step for the rights owner to validate its property and marketplace is the key. In my Furthermore, growing consumer control, com- of those properties/rights owners that takes a very enhance its service and support for its stakeholders opinion, policing and prosecutionbined with athlete and spectator content-creation controlling role in what people can and can’t do on (from sponsors and broadcasters to spectators and are the not the priority in terms ofand the personalisation of individual communica- these channels in relation to the Olympics. But this viewers). ambush’tion, media and broadcasting channels also present a must be done responsibly.’huge challenge for the existing IOC model (as well as So the IOC’s policy for spectators and athletes Ambush Approach > Of course the rise of social me-an opportunity for the new model). is that those who want to take photos and video on dia and the enhanced power of individual athletes This new model will also have to ﬁnd fresh ways their camera phone, can do just that. Indeed, the IOC and spectators provide a further challenge to prop-of engaging with and being relevant to a younger au- says it wants them to do that. But only if it is for per- erty owners already working hard to meet the chal-dience. Indeed, existing sponsors such as Coca-Cola sonal use and does not in a way interfere with our lenge of more established methods of ambush adver-are already working with the IOC on connecting with broadcaster and its rights. tising and guerrilla marketing.the next generation. ‘If you want to blog about the games, even if ‘Obviously we take the notion of protecting our Olympic sponsors have all uniformly already tak- you are an athlete, we want you to blog about them,’ rights very, very seriously,’ says Lumme. ‘But ouren on board the importance of social media and how outlines Lumme. ‘But do it in a responsible way. Do main approach is education rather than policing andit is dramatically changing the environment in which it from your own experience – don’t make it a com- litigation. Educating the marketplace is the key. In mythey work. mercial enterprise.’ opinion policing and prosecution are not the priority ‘They are all understanding how to use the plat- Of course, the IOC is already adapting and ex- in terms of ambush.’forms (as are we) and placing them at the heart of perimenting with this media paradigm shift . The IOC says it prioritises working with athletes’their communication strategies,’ says Lumme, who Official the IOC has a twin track approach to organisations and national Olympic committees onalso highlights the different speeds at which they are how we use social media – including Facebook, Twit- education and knowledge communication in thischanging. ‘At the coalface, the levels to which they ter, Foursquare, YouTube and Weibo (in China) – one area. The IOC and LOCGOG are already working withare adapting and the scope to which they are using track is for the media and the other is for consumers. the social media companies themselves – such associal media varies according to their industry, their For London 2012, for example, the IOC has in- Twitter, Foursquare and Google – as well as more tra-brand and their products and services. But every one troduced a new ‘Athletes Hub’, a service which ag- ditional media organisations on preventing ambush.of them understands that it is a core part of their ac- gregates relevant social media feeds and acts as an Of course, some market watchers and lawyerstivation.’ official digital platform. argue that London 2012 has seen the toughest and When it launched with 100 days to go before most ambitious anti-ambush legislation ever.IOC Social Strategy > Like its sponsors, the IOC is the start of the London Games it had linked to 1,000 In addition to the existing set of legal protec-already adapting fast to digital and social media athletes. Basically the hub pools veriﬁed social media tions for contract holders, trademarks and copyrightchange and have been doing so in earnest since the feeds (from Twitter, Facebook and other channels) holders, ever since the 2000 Games in Sydney the2009 Olympic Congress when the IOC president said into a liver, searchable online space, with the aim of IOC has demanded governments commit to furtherthat the IOC and the Olympic Movements needs to providing a single social media platform where fans additional Olympic legislation. So the 2006 Londonbe at the forefront of digital technology and integrate can connect with athletes. It includes a single, aggre- Olympic Games and Paralympic Games Act, in tan-digital and social media deeply into its communica- gated status-update stream dem with the 1995 Olympic Symbol Protection Acttions and partnership strategy. Officially, according to IOC social media head provide an uber level of legal protection. Breaching ‘It is a bit of a voyage of discovery, of course,’ ad- Alex Huot, the Athletes’ Hub is a trusted ‘social con- these rules is not a civil grievance, but rather a crimi-mits Lumme. ‘But our commitment is there. We want nector of conversations between athletes and fans nal offence.to be present in as many relevant spaces and plat- aimed at developing deep and inspiring relationships Despite this, Lumme believes that for rights own-forms as possible – particular in terms of connecting that could last lifetimes’. ers and sponsors alike the best defence against am-with youth.’ To drive engagement, users are encouraged to bush is to fully activate your rights in as compelling The IOC’s overall approaches to social media is interact with the site in real time, connect it to their and as powerful a way as possible.
> CONTENTS Rights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 22 ‘99% of our focus is on supporting and ensuring great partner activation and only 1% on stopping ambush.’ This offers an additional, Olympic-speciﬁc level sors? on stream we begin to work with them to develop aof protection around the ﬁve-ring symbol, the games The way the IOC works with its sponsors is based framework through which we can understand theirmottoes, and outlawing unauthorised ‘association’ upon two main elements - education and process. philosophy, business, marketing programmes, salesthrough use of words such ‘Olympics’, ‘Games’, ‘2012’, As far as the education element is concerned, structure and even their global/regional perspective,’‘Two Thousand And Twelve’, ‘Twenty Twelve’ particu- much of the IOC’s support work is based around its explains Lumme.larly in connection to a further set of words such as bespoke online ‘partnership portal’: which it uses for ‘We then use this framework to help them navi-‘gold’, ‘silver’, ‘bronze’, ‘medals’, ‘London’, ‘summer’ both prospective and existing partners. gate around the various parts of Olympism. Together,and the like. The portal is a structured web tool that aims to we use this framework to help our partners construct ‘You can’t guarantee there will not be ambush impart and share knowledge with would be and exist- a plan – which includes objectives, strategy, tacticsmarketing (although it is fairly rare that there is some- ing partners and highlight the value of ‘why a com- and activation.’thing particularly signiﬁcant),’ he admits. ‘But what I pany should consider being an Olympic sponsor’.would say, if you look carefully in terms of weighing up It includes an exploration of the IOC’s values, the The Cycle & The Brand > The IOC is always in theour focus in this area, 99% of our focus is on support- partnership programme’s objectives, a set of case middle of a triple-cycle, overseeing various stagesing and ensuring great partner activation and only studies, testimonials, guidelines and previous Games of parallel preparation for multiple Games - summer,1% on stopping ambush. The balance is very much in analysis and learnings. winter and youth. They work with sponsors through-favour of maximising value through activation, as op- The tool aims to explore and validate the three out this entire cycle – from application and selection,posed to being on the tiny leaks in the bucket.’ main reasons why companies consider Olympic to background, planning, concepts and activation sponsorship: to enhance brand value, to increase launch.Sponsor Support Strategy: Education & Process > sales and to make a meaningful impact on external So as they enter the live delivery mode for Lon-As well as judicious, if not overzealous, legislation, and internal people/stakeholders. don, they are simultaneously working with TOP part-how else does the IOC support and service its spon- ‘In terms of process, as soon as a company comes ners on the early stages of the 2014 Youth Olympics
> CONTENTS Rights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 23in Nanjing (China), as well the 2014 Winter Olym- about both the core, long term values of Olymp-pics in Sochi (Russia) and the maturing of the pro- ism, as well as exploring how each new Games ‘In terms of sharing one partner’sgramme for the 2016 Summer Olympics in Rio deJaneiro (Brazil). breathes new life into the brand. Each edition in- jects new life and vitality to both the vision and activation with the others, we do not At the start of each cycle, the IOC’s ‘Olym- the objectives – areas of focus are always evolv- focus on this. There is, of course, anpic Games Knowledge Management Team’ fo- ing.cuses on collating key learnings from the previous For example, London 2012 is focusing on element of competition involved. IGames. These are then shared with our partners themes such as youth and regeneration: the tag-at the earliest stage possible. line is ‘Inspire A Generation’. So TOP partners will can’t deny that. Our sponsors work in a Of course, it’s not as if each cycle starts with assimilate this into their long term goals: objec- propriatorial way with their ideas anda blank canvas. Most of the IOC TOP partners are tives which operate on a timeline that spans bothsigned up for long periods. Coca-Cola has worked long before and long after the London Games. plans and we keep it that way.’with the IOC since 1928 and Omega since 1932. Rio, of course, will have a different emphasisSo partner teams have been to lots of Games be- again.tween them and they take a long term strategic But the IOC is quick and clear to point outview to their strategies and objectives. that one thing that sponsors do not have a role in Also, a fair number of experienced profes- is the host market selection process. This, it statessionals transfer from one Games to the next categorically, is an independent and autonomous– both in terms of organising committees, con- process and they are kept extremely separate tosultants and providers, as well as the individuals protect the integrity of the bid process. There iswithin the partner teams themselves. So there is a clear water between the two.lot of carry over knowledge. In terms of how the IOC works with its part- Messaging & Meetings > When it comes to theners, the starting point is usually what it calls the messaging within partner activation, the IOC‘Olympic & Brand Platform’. It uses this to explore, takes a twin track ‘formal’ and ‘informal’ approachestablish and communicate what Olympianism is. with our sponsor relationships says Lumme. For the IOC, Olympianism begins with the On the one hand the IOC has an emphasis onidea of ‘Building A Better World Through Sport’. informal conversational relationships to ensureThis idea stretches back to the original vision and it communicate to its partners and ensure thatphilosophy of the Modern Games – educating they are aware of the relevant IOC and individualyouth and bringing it together through sport. Games organiser messages. The three ideas that underpin this and that To support this there is a more formal set ofIOC works with its sponsors on are the values of structured documents and guides outlining our‘excellence’, ‘friendship’ and ‘respect’. key messages and the relevant local games land- Unlike many other property owners, the scape to partners.IOC works closely with partners in relation to The IOC also hosts joint bi-annual meetingsthe Olympic brand itself - what it means, what it with all of our partners together. The objectivestands for and what the long term and short term here is to pool the collective knowledge and ex-Olympics objectives areas of focus are. perience rather than to unveil sponsor-speciﬁc ‘Even at an early stage in the cycle, I am al- strategic or activation secrets.ways surprised by how quickly we get down to ‘In terms of sharing one partner’s activationthe nitty gritty with our partners,’ admits one with the others, we do not focus on this,’ admitsIOC insider. ‘We have in depth discussions – both Lumme. ‘There is, of course, an element of com-internally and with our partners – as to whether petition involved. I can’t deny that. Our sponsorsthese are the right contemporary Olympic vales work in a proprietorial way with their ideas andand what they actually mean.’ plans and we keep it that way. Having said that, Rights owners and sponsors have discussion partners are, of course, free to talk to one another
> CONTENTSRights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 24 if they wish. And they often do.’ activation in its sponsorship deals. The organ- isation doesn’t agree with the idea of enforce Measurement & Metrics > The IOC also works clauses in its contracts; instead it prefers to closely with its partners on providing and sup- build well thought-out, sustainable and consen- porting customised measurement methods. sual relationships. Typically, Lumme says, these end up as bespoke ‘We don’t feel the need or see the logic in propriatorial models that relate to its partners doing activation enforcement,’ says Lumme. own existing ROI metrics. ‘We don’t want to police our partners or act like ‘We want to make sure that there are ac- a school teacher.’ cepted and useful measurement metrics both It does claim to carry out a great deal of for the sake of our client and so that we at the due diligence before signing up a partner in or- IOC can determine whether we are deliver- der to ensure that there is synergy between its ing the value we promised and we are getting aims and theirs, that partners share the IOC’s Olympic value promotion in return.’ values and will promote them accordingly. There are various ways the IOC and its part- The IOC is clear about only working with ners look at the measurement challenge. that share its own three main value pillars (ex- One example sees the property owner cellence, friendship and respect) and that com- measure perception of the Olympic brand and mit to those objectives. The organisation says then lay this data over partner brand percep- that it has often turned down sponsorship op- tion on a reputational, brand and image basis. portunities because it felt that the prospective Another route is for the IOC to look at ﬁnancial partners did not wholly share the IOC vision. measurement models and customer satisfac- Our 11 partners are a tightly knit, small tion metrics and use these in their work with group,’ an IOC official told Activative Platform. sponsors, national Olympic committees and lo- ’This small size shows that we have turned away cal organising committees. offers and money because we don’t feel they ‘Organising committees may use a slight- reﬂected our values or shared objectives.’ ly different approach to measurement,’ says Those who do commit to the TOP pro- Lumme. ‘For example, London has an approach gramme are buying an Olympic association. on sustainability and youth, so the measure- Unlike many other sponsorship deals there is no ment metrics will focus on the promotion of shelf space or media inventory – there is an idea, relevant messages and the related consumer and ideal. mindset/behavioural response to these values.’ ‘If you don’t put that idea at the heart of your leverage plan, or if you don’t come up with Consensual Partnership > Lumme’s idea of a leverage plan at all, then what are you doing it the notion of sponsorship, when it is stripped for?’ asks Lumme. ‘That would be very strange right down, is ‘about partnership, about mar- indeed.’ riage’. Another difference between the IOC and ‘Of course there is a transactional element, much of the sponsorships in the professional but by far the most important element in the sports leagues around the world is that TOP way we choose our partners is that they are a sponsors are onboard for the long term. While good ﬁt,’ he says. ‘That both their brand and many sponsors of other properties need to ac- their products and services promote the Olym- tivate immediately and get their returns within pic values and share the movement’s objec- 12 months or around the life of a speciﬁc event, tives.’ Olympic sponsors sign up for much longer. The IOC, unlike an increasing number of ‘Our last two partners signed up for 10 rights owners, does not include forced partner years plus,’ reveals Lumme. ‘Their strategy will
> CONTENTS Rights Holder > IOC > Olympic Revolution: IOC Overhauls TOP 25not be built around getting a 10 to 18-month return.’ TOP Overview > TOP currently has 11 global sponsors (there have > Click text below for links Another reason for the consensual approach is that the IOC never been more than 12) and it is reported that each shells out IOC > www.olympic.orgrelies on the expertise and skills of its partners to help them and around $100m for a four-year Olympic cycle. IOC Hub > http://hub.olympic.org/the Organising Committee to actually deliver the Games. London 2012 > www.london2012.com From business-focused brands like IT partner Atos which de- > Non-Alcoholic Beverages: Coca-Cola Coca-Cola > www.coca-cola.comlivers the technology framework and platform (they are already > Computing Equipment: Acer Acer > www.acer-group.comvery busy in Rio), to consumer partners such as Coca-Cola who > Information Technology: Atos Atos > www.atos.netare committed to promoting the sustainability objectives with a > Official Chemistry Company: Dow Chemical Dow > www.dow.com100% recycled Olympic programme, they help provide the infra- > Infrastructure (Energy, Water, Transport): GEstructure and services needed for an event on such a huge sacale. > Retail Food Services: McDonald’s GE > www.ge.com Lumme also points to another reason why the IOC’s approach > Timing Services: Omega McDonald’s > www.mcdonalds.comis consensual: its partners effectively have 200 rights holders > Audio/TV/Video: Panasonic Omega > www.omegawatches.comrather than just one. In other words, Olympic TOP sponsors are > Personal Care & Household Products: P&G Panasonic > www.panasonic.netactually partners of all the individual Olympic associations from > Consumer Payments: Visa P&G > www.pg.comevery country around the world. > Wireless Telecoms Equipment: Samsung Visa > www.corporate.visa.com ‘Our sponsor approach is consensual and our partners acti- Samsung > www.samsung.comvate in many diverse ways so enforcement just isn’t appropriate,’ Most sign up for multiple Olympic cycles and seven are cur-says Lumme. rently contracted up to the 2020 Olympic Games (which will be ‘Within the programme there are very different types of busi- held in Istanbul, Madrid or Tokyo).ness, in various subsectors, with different needs. Coke and P&G The Olympics has a ‘clean stadium’ policy, meaning no ad-are mainstream consumer-led brands, while Omega very much vertising in the stadium and there is no media package attached.operates in the premium space and Dow and GE are business fo- So each partner’s investment effectively buys it a link to thecused. But at the end of the day the basic notion of Olympic part- Olympic brand: the rights to use the rings logo and the chance toner activation is the promotion of the brand and its values and it’s leverage ‘the magic’ and ‘the values’ of the Olympic spirit.up to each one how they do this.’ Surveys suggest that the Olympic Rings are the world’s most recognised symbol with 93% unaided brand awareness. It is prob-A TOP Future > While there is a great deal of continuity in the ably the only logo that has higher awareness than the symbols ofIOC’s Top Olympic partnership programme, the emphasis, the as- sponsors Coca-Cola and McDonald’s.sets and the activation are certainly set to change. Plus, the Olympics has a global audience of around four billion According to Lumme, structural and activation change is not and is shown in at least 220 countries.only necessary, but positive. He also points to the change in spon-sor objective and message emphasis between the 2008 and 2012 IOC Summary > The International Olympic Committee (IOC) wasOlympics. created in 1894 by Pierre de Coubertin. The ﬁrst modern Olympic ‘If I compare Beijing to London, I would say that the dominant Games were held in Athens in the summer of 1896 and the ﬁrstpartner strategy in Beijing was based around a “here we are and Winter Olympics took place in 1924 in Chamonix, France.here’s what we do” awareness-led approach. While in London the The IOC is based in Lausanne (Switzerland) and is a non-prof-emphasis has switched to “here’s how we can add value to your it whose mission is to ‘promote Olympism throughout the worldlives, contribute to your community and commit to the planet”’. and to lead the Olympic Movement’. And what of the future and 2016 in Brazil? The 115 IOC members convenes once a year to elect members ‘In terms of Rio, I feel that there will be more holistic all-em- and host cities and consists of royalty, Olympic athletes, corporatebracing strategies focused on corporate responsibility, ecology executives and organisational leaders.and on sustainable development,’ he predicts. ‘Obviously it is a The IOC, which employs nearly 1,000 staff, negotiates broad-developing BRIC market, so a company’s commitment to societal cast contracts and international sponsorship and oversees thechange, its ecological and economical footprint will be important.’ organisation and funding of subsidiary organisations including Trends which dovetail with the Olympic ideals themselves. < National Olympic Committees, International Federations and the local Organising Committees of the Olympic Games (OCOG). <
> CONTENTS Agency Comment > Redmandarin > Olympic Revolution: IOC Overhauls TOP 26Redmandarin CEO Shaun Whatling provides an in- platforms on them; they sell products and services here sales are actually less dependent on category > Click text below for linksdependent insight into the IOC’s TOP review. off them; and they protect themselves with them. The numbers and more so on when the OCOG ﬁnalises its Website > www.redmandarin.com IOC’s challenge is to reframe the value of each, and ticketing arrangements.Spinning The TOPs > The IOC’s TOP programme is in particular to qualify and manage that protection. Tickets, not the marques, are the biggest driverclearly in rude good health. Sainsbury’s illustrates the problem. of promotional sales and London 2012’s (compara- With seven out of 11 partners conﬁrmed until By all accounts, including ‘sotto voce’ commen- tively) late release of ticketing will have hit partners’2020, the IOC can congratulate itself on having es- tary from LOCOG, ‘less so sotto’ from Igor Stolyarov, sales far more than a pruning and rationalisation oftablished itself clearly as the premier global property. the Commercial Director of Sochi 2014, and very the categories.The presence of businesses such as GE, P&G and evasive commentary from Coca-Cola, Coke has no The role of the IOC commercial team has histori-Dow Chemical in the TOP programme further testi- contractual right to block the supermarket category cally been sales focussed. Without losing sight of theﬁes to a value which extends way beyond the tradi- – and yet it happens, time after time. paramount need to embrace its partners and buildtional appeal of sponsorship – and relegates both the TOP partners ring-fence their position ever-more deep, long-term relationships, the IOC is clearly look-FIFA World Cup and F1 to a new second tier. securely – through amendments to their partnership ing to take back a little control. It’s in a strong enough On the surface therefore, the IOC’s announce- agreement with each renewal, through their deep position to do that – and it’s given itself enough timement that TOP is up for review appears surprising – relationships with the IOC. Coca-Cola can justiﬁably to do it as gently as possible. <the most successful sponsorship programme of all exclude Pepsi – and Guaraná Antarctica in Brazil astime, it’s US$1bn short of being broken, so what’s to a direct competitor to Coca-Cola - but all local wa- Shaun Whatling is CEO of Redmandarin > For moreﬁx? ter, juice, tea and coffee brands? The same question information please contact: But in the coded, diplomatic language of the IOC, could equally be asked of GE, McDonald’s, Panasonic, E - email@example.com‘up for review’ of course begs interpretation. Whilst P&G, Samsung and Visa T - +44 (0)20 793 1234 022the review process will be characteristically thorough Category conversations tend to focus on conver-– few will expect radical change. gence, but it’s a red herring: for the purpose of spon- If I were in Timo Lumme’s position, I’m not se- sorship categories, the iPad’s a computer and theriously going to worry about pricing. Although the iPhone’s a handset, a smart TV’s a TV and a smart-rights fees for individual Games have been on an up- phone is still a handset. In a strange way, Panasonicwards trajectory for the last decade, this has been and Samsung are actually the model. They’re directheavily skewed by recent visits to the dominant competitors in many categories. Both manufactureemerging markets of China, Russia and Brazil. handsets and TVs. Both are restricted in the activa- A TOP partnership might seem under-priced at tion of their Olympic association to their respectivea starting point of US$100m per quadrennium, but categories. And both brands beneﬁt or stand to ben-with that comes a minimum eight year commitment, eﬁt equally from the Olympic halo.an obligation to activate, however modestly, the When the principle becomes the practice,Summer, Winter and Youth Games. A total ﬁnancial Samsung leaves Panasonic in the blocks, of course,investment of over US$200m - but an even more sig- because while Samsung sweat the assets, whileniﬁcant organisational commitment. Panasonic tends to post generic advertising with The issue is not about TOPs paying too little, it’s washed-out colours that would sell sepia back-cata-about revenue expectations of domestic partners be- logues way better than HD TV. ‘I would certainly look at category redefinitioncoming unrealistically, unsustainably high (and that But the point stands: there’s enough space be-can only be addressed through the bid process). neath the Olympic umbrella for competing brands to (and creep), because the current situation is But I would certainly look at category re-def- co-exist.inition (and creep), because the current situation is For B2C brands hoping to break back their in- squandering commercial opportunities for bothsquandering commercial opportunities for both theIOC and its OCOGs. vestment via consumer sales, more categories in the- ory represent greater opportunity – but frankly, it’s the IOC and its OCOGs. It’s a complex knot to It’s a complex knot to unpick. Partners derive difficult to imagine that scale of incremental sales for unpick. Category conversations tend to focus onvalue from their category rights in three ways: they Acer, Coca-Cola, McDonald’s, Panasonic or Samsung.build communications, engagement and promotional Perhaps, globally, there’s a case to be made – but convergence, but it’s a red herring.’
Coca-Cola’s New Olympic Beat As the world’s most valuable brand and the longest continous Olympic sponsor, Coca-Cola’s ‘Move To The Beat’ London 2012 campaign is not only its biggestpartnership activation ever, but is also the beverage giant’s first Games campaign under its new ‘content-creation, liquidand linked’ marketing strategy. Activativeanalyses Coca-Cola’s innovative approach and talks to Mark Osikoya, Head of Sponsorship at Coca-Cola’s London 2012 Olympic and Paralympic Project Team, about strategy, scale and social success.
> CONTENTS Sponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 28Coca-Cola is the world’s largest beverage busi- Atlanta HQ’s New Strategy > This global effortness, its best known and most valuable brand. is forged not in host city London, but in AtlantaIts corporate objective is to maintain its number where its global management and marketingone position and to do this it must double the size teams are based and where it sports market-of the business in 10 years. Its methodology for ing and partnership teams operate in a differentthis is to refresh the world by inspiring optimism league of complexity compared to most sponsor-and happiness through a marketing strategy built ship professionals.around using content excellence to gain a dispro- The plan for the Olympics is embedded inportional share of popular culture. Its vast spon- Coca-Cola’s broader business and marketingsorship programme is embedded in this broader strategy, after all Olympic Games activation andstrategy and at its heart lies its 80-year Olympic delivery is not a standalone entity. Indeed, forpartnership. many Coke marketers working on London 2012 Simple! Olympic work is done in addition to the day job. Well, not when you consider that its global As a long-term IOC TOP partner, Coca-Co-‘Move To The Beat’ campaign for London 2012 in- la’s Olympic Games objectives are long term, socludes an astonishing 120-plus pieces of content. learning from examples and experiences of previ- Not only is it the company’s biggest cam- ous Games, being part of the Olympic spirit andpaign ever, but compared to the three TV spots of the global legacy promise is perhaps more im-and six outdoor and print executions it created portant for Coke’s central HQ team than for somefor the 2008 Olympics in Beijing it is Herculean LOCOG sponsors.in scale. The Atlanta brains trust’s challenges for Lon- ‘This is Coke’s biggest campaign ever,’ ac- don 2012 were to centrally produce global cre-cording to Jonathan Mildenhall, Coca-Cola’s Vice ative assets that:President of Global Advertising Strategy and > Achieve standout in the highly clutteredContent Excellence. ‘And it is a massive, massive Olympic marketing arenashift in just four years.’ > Build upon the principles of happiness and Some tenants of Coke’s Beijing 2008 spon- sustainabilitysorship remain in London 2012 – such as the focus > Engage with the youth market through so-on celebration and engagement. cial and digital channels ‘The Olympic and Paralympic Games is the > Ensure Coke’s Olympic legacy is a reality,biggest sporting event in the world and allows us not just a good sound biteto use the power of our brand to bring people to- On top of this, the approach had to be basedgether to celebrate and participate,’ outlines Mark around Coca-Cola’s new umbrella marketingOsikoya, Head Of Sponsorship at Coca-Cola UK’s manifesto, a philosophy unveiled earlier this yearLondon 2012 Olympic and Paralympic Project based around content creation and distribution.Team. ‘Our sponsorship is rooted in celebration The world’s most famous advertiser is evolvingand participation which allows us to build deeper from an approach reliant on ‘creative excellence’relationships.’ in traditional advertising to a focus on ‘storytelling But the scale, strategy and measurement of content’, some bought and some created, that issuccess is very different indeed. both ‘liquid and linked’. For both Coca-Cola in particular, and for the The Coke ‘liquid and linked’ mantra is thesponsorship industry in general, this campaign brand’s solution to the huge shifts in communi-shows just how much sponsorship has changed cation – largely due to rising consumer controlin a single Olympic cycle. It moves into ambitious and customer empowerment driven by ceaselessnew territory in terms of its strategy and its audi- technical and socio-cultural change.ence-inclusive approach to content creation and Liquid essentially means that the contentdistribution. must be compelling enough and in a format which
> CONTENTSSponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 29 can ﬂow through any medium. Linked means it attempt to bring them closer to the Olympic must relate to Coke’s business objectives, its Games and provide them with shareable con- brand and consumer interests. tent that will effectively transform them into So that means relevant content – from ideas Coco-Cola brand advocates for life. and stories, to music, images, articles and vid- Coca-Cola’s decision to build its activation eos – that can be shared anywhere and every- of the world’s largest sports property around where not only by brand ambassadors and su- music is the biggest demonstration yet of the per users, but by everyday consumers and even increasing focus on blending entertainment non-Coke drinkers. In other words, creating rel- genres within the sponsorship space. evant stories that are ‘entertaining/informative/ ‘We believe that music encourages partici- useful’ enough to inspire multi-directional con- pation and is a means of engaging those who versation, connectivity, empowerment, interac- are not motivated by sport with the spirit and tion and engagement across all channels. celebration of the Olympic and Paralympic Games,’ says Osikoya. ‘Our campaign aims to Move To The Beat: Collaboration, Consumer connect more young people with London 2012 Creation & Corwd Sourcing > The solution was by harnessing their passion for music. ‘Move To The Beat’: an initiative aimed at the While Atlanta centrally negotiates the world’s youth and consisting of content largely Olympic deals, dictates the strategy, develops designed for distribution via social media by the the global creative executions, provides the target audience. tools and deﬁnes the targeting, individual mar- While the campaign was created in con- kets have some ﬂexibility to localise campaigns junction with Mother London, the new strategy and add their own speciﬁc elements to the cam- means that Coca-Cola no longer relies just on paign. traditional ad agencies for creative ideas and This music-sport genre blending approach accompanying executions. Instead its collabor- reaches beyond the global executions - for ex- ative approach aims to ensure that consumer- ample it also applied to Coke’s role as present- creativity, crowd-sourcing and feedback shapes ing partner of the UK Torch Telay via the brand’s a living campaign. ‘Future Flames’ initiative. This means that campaigns come from ‘We used our role to celebrate inspirational Coke drinkers, Facebook fans, Twitter follow- young people who use their passion in areas ers, amateur ﬁlm makers, bedroom musicians, like sport and active lifestyles, music and dance, jokers and story tellers, citizen journalists and and community and environment to spread personal bloggers who all work with each other happiness in their local communities by giving and with the professional worlds of advertising, them a once in a lifetime opportunity to carry art, music, ﬁlm and TV and sport. the Olympic Flame,’ explains Osikoya. ‘Our biggest learning as a company, is feel- The beverages giant also worked with LO- ing comfortable with a messy and unpredict- COG and host Local Authorities to stage 66 able, non-test-sensitive creative process,’ ad- Olympic Torch Relay Evening Celebrations that mits Mildenhall. ‘You have to have a clear idea of showcased up and coming music talent along- where you want to go. But you also have to be side established stars. incredibly comfortable with the random nature The global teen focus of the Olympic cam- of creative communication.’ paign also includes local market activation ele- ments too. Teen Targeting Through Music > The idea be- In the host market there is a nationwide hind Move To The Beat itself is to use music to collaboration with sports charity StreetGames. target the younger teenage generation in an ‘We are working with StreetGames to help
> CONTENTS Sponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 30110,000 young people get active,’ explains Oski- create and upload their beat via the mobile Weboya. ‘Driving participation in sports in some of the Create my Beat site.most disadvantaged communities across the UK.’ The effort also includes the Create My Beat An interesting teen-focused local USA Games desktop app, which creates individualised beatsinitiative saw Coca-Cola’s marketing team stage a by mixing a user’s personal musical preferencetwo-day audition party in Los Angeles to ﬁnd 100 and their sporting interest with their online socialteen athletes to become brand youth ambassa- media footprint. The personalised experience candors in the sports space. be uploaded to The Global Beat, an online com- The branded party for these young sport munity bringing together the beats to create anstars of tomorrow included personal photo ses- evolving global music collaboration.sions with professional photographer Yu Tsai and In some countries, such as China and India,ﬁlm crews shot individual interviews about sport- the campaign includes an SMS programme, whiching passion, Olympic ambitions and dreams jour- enables teens to sign up for SMS campaign alertsney, and their relationship with Coca-Cola. and facts about Games athletes, musicians, artists Each attendee thus had professionally pro- and content such as Olympic quizzesduced personal content which they could distrib- This mobile silo of the campaign will be ac-ute to their own cohort themselves via Facebook, tivated in more than 50 countries with QR codesTwitter and YouTube. While the best work could in-store, SMS activation at live music events, linksalso be included in Coca-Cola’s own executions. within the brand’s desktop and mobile experience ‘It’s free media for us and they’ll start to drive for the Olympics and augmented reality associ-the conversation forward,’ says Mildenhall. ‘The ated with packaging.consumer voice is of greater value than the Coca-Cola voice.’ Sponsorship Sucess Via Social Return > In the past sponsorship success has been measuredMobile & Social > Teen targeting, of course, through fairly generalised metrics such as brandmeans mobile and mobile apps that link to so- awareness and consumer opinion surveys. But forcial media are playing a key role in the mix. With London 2012 Coca-Cola is attempting to movethe exploding growth of the world’s teens using beyond this with a speciﬁc focus on analysing andsmartphones to access social networks, mobile is measuring the campaign’s social live and socialperhaps the essential platform within this multi- legacy affect.channel mix. Coca-Cola has set independent think tank ‘Mobile is at the heart of many teens’ daily Demos the task of creating a new progressivelives, connecting them with their family, their sponsorship measurement model which judgesfriends and their world,’ says Kim Siler, who works success or failure in terms of the social return onon the mobile brand strategy in the Coca-Cola investment and the social value it creates.global interactive marketing team. ‘Mobile, in turn, This tactic emerged from the recognitionis at the heart and foundation of our strategy for that sponsorship and attitudes towards it areLondon 2012, amplifying those connections with changing and understanding where value lies inmusic, relevant content and movement.’ this new landscape is essential. For example, Move to the Beat includes the One of the ﬁrst mass scale social sponsorshipMy Beatmaker smartphone app which enables measurement programmes, this could becometeens to create their own beat through the motion the dominant sponsorship success metric of theof their handset (using Zooz movement detection future. The initiative is partly a learning processtechnology) and share it with their friends and the with the objective of helping Coca-Cola quantifyworld. social impact of its sponsorships and gain a bet- The app is free to download from the Apple ter understanding of return on investment (ROI).App Store and Google Play and users can also The Coca-Cola sports and sponsorship teams
> CONTENTSSponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 31 aim to make it a core part of future investment Coke On Sustainability > ‘Our commitment to decision making. recycle all clear plastic waste and turn it into Perhaps the company’s key learning from new bottles within six weeks of London 2012 this new social measurement programme will will help LOCOG deliver its target of a zero- be whether its content-led Olympic activation, waste Games.’ the biggest application of Coke’s new strategy to date, has generated enough new, loyal young Coke On Health > ‘We have a timeless com- brand advocates and Coca-Cola ‘lifers’ to main- mitment to enhance well-being in all of its tain its global number one position? < forms. Encouraging people to get active, and providing them with opportunities to do so, has always been at the heart of our brand The Coca-Cola Official Olympic Line values. We also recognize that issues such as obesity are a complex problem and we are Coke On Ambush > ‘Our long term sponsor- committed to working with all sectors of soci- ship commitment, along with that of other of- ety to ﬁnd solutions. To help change the way ﬁcial sponsors, enables athletes from around people think about nutrition and exercise we the world to train, prepare for and compete in need to work together.’ the Olympic and Paralympic Games. Without it, many Olympic committees Coke On Products > ‘At the 1948 Olympic would be unable to send athletes to compete. Games, the last time they were held in London, A signiﬁcant contribution is also made to- we offered only Coca-Cola. wards the cost of staging the Games, helping At London 2012, we will have the widest to reduce the cost to taxpayers and govern- range of drinks ever provided at an Olympic ment. and Paralympic Games.’ Ambush marketing deprives deserv- In total it will offer 19 different products ing athletes and local communities of much- and variants including: needed funding. In resolving issues of brand > Coca-Cola protection, Coca-Cola supports LOCOG in its > Coke Zero approach to be pragmatic and amicable and > Diet Coke to settle each case through education, rather > Powerade ION4 than litigation.’ > Powerade Zero > Glaceau Vitamin Water Coke On Rights Owner Relationships > ‘We > Abbey Well Mineral Water have worked closely with LOCOG and other > Innocent fruit smoothies sponsors to help stage a spectacular London > Innocent Juice 2012 that inspires change, participation and > Sprite Zero leaves a lasting legacy. Throughout the Torch > Fanta Relay we have also helped LOCOG, other > Oasis Olympic sponsors and host local authorities bring music and celebration to every corner of the UK. More practically, we are one of the only organisations with the capability and net- work required to help LOCOG deliver what will be the largest peacetime catering operation in the UK.’
> CONTENTS Sponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 32London 2012 > Move To The Beat > Activation Map > Snapshot Overview> 1 Track, Art, Film & TV > 2 Mobile, Web & Social > 3 UK Local Market Work>1 >1 >2 >2 >3 >3M RONSON ANTHEM LIVE EVENT MY 1300 TORCH& KATY B RELEASE & SEEDS VIRAL BEATMAKER FUTURE RELAYTRACK DOWNLOAD SPREAD MOBILE APP FLAMES PARTNER>1 >1 >2 >2 >3 >3BEAT WALL EAST END TRACK THE CREATE MY BEAT 66 NIGHTSGRAFFITI LONDON PR BEAT ON BEAT DESK- FLEET OF LIVEURBAN ART LAUNCH FACEBOOK TOP APP VEHICLES MUSIC>1 >1 >2 >2 >3 >330 & 60 SEC CINEMA IN-STORE TWITTER STREET- POWERADE2 & 4 MIN GLOBAL & AUGMENTED SMS ALERTS GAMES SPORTSTV SPOTS LOCAL CUTS REALITY & QR CODES CHARITY ACADEMY>1 >1 >2 >2 >3 >3MAKING OF GLOBAL IN- GLOBAL PRIZES/CLIPS GAMES- BEATBOX:DOCUMENT- GAMES BEAT BEAT EXCCONTENT TIME REFR- OLYMPICARY TV SHOW WEBSITE WALLPAPER ESHMENT PARK STAGE
> CONTENTS Sponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 33Move To The Beat: Campaign Overview > Sponsorship activation has changed out of all recogni-tion since Coca-Cola ﬁrst sponsored the Games back in 1928 in Amsterdam. The Atlanta-based soft drinks’ giant is the longest continuous backer of the Olympic Gamesand is a founding member of the IOC Olympic Partner (TOP) Programme for the non-alcoholicbeverages category and ever since has been at the forefront of Olympic activation innovation. This year’s activation launched in earnest on 16 February at an East London press launch inthe shadow of the Olympic Stadium. It saw Coca-Cola unveiled its global London 2012 marketingcampaign – ‘Move To The Beat’. The initiative’s spearhead is a Coca-Cola music release, Anywhere In The World, a track byGRAMMY award winning producer Mark Ronson with lyrics and vocals provided by 2011 MercuryMusic Prize nominee Katy B. The anthem is being used across Coca-Cola’s 2012 activation work. Ronson and Katy B unveiled the track beside an example of Coca-Cola’s ambient Olympicoutdoor art work called The Beat Wall. The dramatic Beat Wall is an urban artwork painted bya collective of internationally acclaimed young artists, situated in Hackney, East London. It is 25metre wide by 10 metre tall and was curated by photorealists Neil Edward, Hadley Ever and Smug. The Beat Wall is a visualised piece of story-telling. It aims to tell a story about how the soundsof sport and music are fused together. Both Ronson’s track and the art work are symbolic of the Move To The Beat campaign’s ambi-tion to bring teens closer to the Olympic Games and to sport in general. It aims to boost Gamesexcitement and anticipation among teens and harness their passion for music. Its objective is togain inspiration from London’s musical heritage. At the press launch, James Eadie, Olympic portfolio director at Coca-Cola GB, said it had putmusic at the heart of its 2012 work because music is a fantastic passion for Londoners and teensin particular. “This is a great opportunity for us, it’s not just about London but about our global campaignthat will take music and fuse it with sport in an innovative way that will go out there and engagewith teens around the world.” Ronson travelled the world in order to gain inspiration for the anthem and he met young ath-letes to record the sounds of their sport, before teaming up with chart-topper Katy B to providethe vocals. At least ﬁve athletes perform live beats on the track: Russia’ Kseniya Vdovina ran on a tread-mill, GB’s Darius Knight played table tennis, Singapore’s Dayyan Jaffar recreated archery and theUSA’s David Oliver cleared hurdles on a raised track, while Mexico’s Maria Espinoza yelled outTaekwondo shouts. ‘Move to the Beat is all about getting teens excited about London 2012 by tapping into theirpassion for music and fusing it with sport,’ said Mark Ronson. ‘The Beat Wall uses urban culture toexcite and engage teens and is a really cool way of inspiring teens to get involved with the London2012 Olympic Games.’ The wall’s unveiling coincided with the launch of the Coca-Cola ‘Track The Beat’ Facebookapp and the Move to the Beat TV ad. The spot is rolling out across Europe and then the rest of theworld to engage teens with the spirit of the London 2012 Olympic Games. Track the Beat actively engages teens by encouraging them to ‘collect beats’ through Face-book to gain access to exclusive content and prizes. Teens using Track the Beat will be able todiscover the beats that feature in the Move to the Beat anthem, download wallpapers and screensavers of imagery from the wall.
> CONTENTS Sponsor > Coca-Cola > IOC TOP > London 2012 > Coca-Cola’s Olympic Beat 34 > Click text below for links The anthem also forms the heart of the core TV creative for Coca-Cola’s Olympic activation. ebrating the young people who help make Britain Coca-Cola Move To The Beat > YouTubeThe central global spot, created by agency Mother and which can be localised according to an burn brighter by bringing happiness to their local ar-Atlanta-created set of rules, was previewed on the brand’s Olympic Facebook page ahead of its CokeZone Move To The Beat > Website eas through passions such as sport, music and dance,international broadcast release. community and the environment. Coca-Cola My Beat Maker > Website The ad was shot amidst a live audience of London teens and stars Ronson and Katy B along- This phase was led by a TVC which stars young Coca-Cola Olympic Games > Websiteside some of the star athletes whose sporting sounds are used on the track. Leveraging the music Brit actor Thomas Turgoose running with a ﬂam- Coca-Cola > Websitefocus, the commercial premiered in the UK during the 2012 Brit Awards on 21 February. ing torch through rural and urban Britain, inspiring IOC > Website There is also an accompanying feature-length ‘making of’ style documentary – a 30-minute young people he passes to “Nominate a friend and Torch Relay > Websiteedit of which aired on the UK’s Channel 4. give them the chance to run with the Olympic Torch”. One fairly novel aspect of this campaign is the way the brand encouraged viral spread of pre- The objective was to encourage nominations oflaunch excitement by loosening its grip on campaign creative. young people doing positive things in their commu- Indeed, in summer 2011 Coca-Cola lifted the lid a little on the creative process of its Olympic nities. A judging panel (of musicians, artists, mediawork for the ﬁrst time ever by inviting teens to attend the free Ronson-led gig. Those present personalities, community ambassadors and Londonwere allowed to capture and share photos and videos of the shoot – thus breaking with the ad- 2012 hopefuls) selected who would carry the Olym-vertiser tradition of keeping ads closely under wraps. pic Flame in the Torch Relay. Applicants were en- Of course, the plan was that these consumer-created and shared experiences would spread couraged to submit video nominations for those theyvirally, create conversations and build pre-launch excitement through the following six months. feel deserved to carry the Olympic Torch. ‘We approached our London 2012 campaign in a bold new way in order to create stories that This phase was supported by cinema, radio andteens would love and that they would want to share,’ said Jonathan Mildenhall, Vice President of outdoor advertising, on-pack communication, PR,Global Advertising Strategy and Content Excellence at The Coca-Cola Company. regional experiential events and digital ampliﬁcation. ‘This wasn’t about shooting a television commercial. It was about inspiring teens to move Coke also ran some additional local market cam-and capturing the story from multiple angles and viewpoints in order to create pieces of ﬁlm that paigns, such as the US family-targetd initiative basedcould be spread across multiple media platforms.’ around encouraging active lifestyle and called ‘8- The anthem is the soundtrack for mobile and digital platforms and Coca-Cola events during Pack’. Built around 8 US athletes, the work aims tothe London 2012 Olympic Games, while also being available to buy as a single. use their personalities to provide Americans with a Further activation includes in-store displays, out of home advertising, experiential pro- closer look at Team USA emphasising the values ofgrammes, mobile and digital initiatives and builds on the brand’s ‘Open Happiness’ platform. community, connection, support and patriotic opti- Several future facing platforms and new technologies have been employed within Coca-Co- mism. The athletes were chosen to present sports asla’s vast Olympic activation portfolio. One of the most notable of these was the ‘My Beat Maker’ well as the multicultural make-up of American youth.app – a funky, fun mobile device that detects the movements of users’ phones and converts them The campaign, created by Ogilvy & Mather, Wie-into music thus enabling users to make their own beats. den & Kennedy and Leo Burnett (with digital work by The music itself is based on the Mark Ronson and Katy B official Coca-Cola London 2012 360i) includes limited edition collector cans, eight TVanthem. When a unique beat has been created, users can upload to brand’s global music collabo- spots, outdoor work and an extensive online element.ration site The Global Beat, available at www.coca-cola.com/theolympics, and share them with A digital hub includes interactive athlete quizzes,the world. Thus forming an ever-evolving worldwide online music collaboration bringing together instant-win prizes, US sweepstakes at MyCokeRe-Beats from every country. wards.com/theolympics. Using social media the The Facebook app, Track the Beat, also allows young people to connect and interact with the eight athletes will interact with consumers, in the vir-campaign anytime, anywhere. Users collect the different beats of Coke’s song for London 2012 tual and real worlds, including the opportunity to winand share with friends, plus access exclusive, behind-the-scenes clips of Mark Ronson’s travels. a school-sports day hosted by Olympic hurdler and Throughout London 2012, Coke is also running a daily television show, called ‘Coca-Cola medalist David Oliver. Another site, www.coke.com/Presents: Beat TV’, broadcast over 10 nights. It will air in several countries and, in a fairly unique cheers, invites fans to upload a photo and a messagedistribution model, the show will broadcast in different territories with different presenters pro- of support to Team USA which were displayed onviding a localised versions. Coca-Cola’s Times Square billboard. < This main Olympic year work followed in the footsteps of last year’s UK-only ‘Future Flame’initiative – an integrated campaign connected to Coke’s sponsorship of the Torch Relay and cel-
Lloyds TSB’s London 2012 Journey Back in March 2007, Lloyds TSB became the very first official domestic sponsor of the London Olympic Games. That same year it became the first to activate too. Buton the day before the Games actually start, Lloyds will have achieved 96% of the totalvalue it aims to achieve from its investment in London 2012. Activative talks to Group Partnership Director Sally Hancock aboutthe bank’s Olympic sponsorship campaign, from strategy and creative approach tomeasurement and what constitutes success for Lloyds’ London 2012 investment.
> CONTENTS Sponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 36 Through ﬁve years of leveraging its rights the ness learnings we have gained from through ourbank has established and maintained its position involvement.as the most recognised London 2012 domestic Hancock has created a multi-faceted scoresponsor. card running from 2007 until the Games closes, If public awareness was the vital metric, then which aims to answer a slew of questions: wheth-being ﬁrst looks to have been the right strategy. er Lloyds is driving incremental business throughAs most independent research shows Lloyds with the partnership; what difference the sponsorshipthe highest spontaneous awareness of any tier is making to consideration of the Lloyds brandone LOCOG partner (albeit behind long term IOC among customers and non-customers; whetherTOP partners Coca-Cola and McDonald’s). customers and non-customers feel they have the But it’s not! opportunity to get involved and are more likely to While the media and the skeptics are ob- recommend Lloyds to other people because of it;sessed with unprompted public recognition of of- and how the sponsorship is affecting staff moralﬁcial sponsors, Lloyds itself is not. Simple public and pride in the organisationawareness and visibility is not the main objective The programme has both internal and exter-behind its decision to sponsor the Games. nal measurement silos. Some of the metrics like ‘There was no single objective for us, but brand tracking continue to be outsourced to in-rather a three-way objective focused on brand, dependent external suppliers, while other mea-business and employees,’ outlines Lloyds TSB’s surements such as direct and indirect bottom-lineGroup Partnership Director Sally Hancock. ‘Our business wins are measured internally.aims are to reinforce our brand values, to build ‘In total we are using a set of 35 measure-business via our rights and by using our Games ments and assessment formats to analyse thelearnings to improve our tenders and commer- impact and success of our Olympic involvement,’cial contracts, and to involve our employees in says Hancock. ‘These operate right across andthe Olympic spirit and experience and thus build through the entire organisation – from employeepride in our organisation.’ satisfaction to skills learnings and the bottom line Hancock, who has masterminded Lloyds itself.‘London 2012 programme, feels there is far too Thus far, according to some of Lloyds TSB’smuch focus on the simple ‘awareness’ issue. ‘For own interim data, 70% of the bank’s own custom-us, and for many of our fellow sponsors I suspect, ers are aware it is a London 2012 sponsor andawareness just isn’t one of our key Olympic ob- 40% of them are more likely to recommend thejectives. Our aims are much more reﬁned and fo- brand as a result of its partnership programmes.cused than on such a simplistic, broad notion.’ Furthermore, one in three of the £3bn-worth of So for Lloyds, the success of its London 2012 London Games contracts have been awarded tostrategy will be measured against the bank’s Lloyds TSB business customers.three-pronged objective set: communicating Can success be clearly and indisputably mea-brand value, enhancing professional skills and sured through this data?winning business and improving employee en- ‘The short, simple answer is yes, this is angagement, pride and satisfaction. achievable aim,’ argues Hancock. ‘The longer an- The bank has a sophisticated system for mea- swer is more complex. But deﬁnitely you can, yes.’suring the success of its reported £80m-plus in- While Lloyds keep their cards close to theirvestment against these strategic objectives. It has chest in terms of what success looks like, they aredeveloped a bespoke scorecard that works on a clear about when the value will be achieved andmultiple set of independent and integrated me- the measurement stops. While we have heard achanics and metrics. These range from colleague lot about ‘legacy’ at these Games, domestic spon-engagement and satisfaction surveys, to measur- sors have a ﬁxed term and a limited time perioding the value of the education beneﬁts and busi- to run. So Lloyds’ strategy is built around the ﬁve-
> CONTENTSSponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 37 year lead-in rather than during the event or the Hancock. ‘The Olympics have been something post Games period. of a positive rallying point for us in particular ‘Put it this way,’ says Hancock. ‘By 26 July, and for the UK in general. I can’t deny that. But the day the Torch Relay ﬁnishes and the day be- this was not in any away part of our decision- fore the Games start, we will have achieved 96% making process to become a partner. It wasn’t of the total value of our London 2012 sponsor- part of our strategy at all. After all, we signed ship.’ up to be a partner of London 2012 in 2007. This The measurement process will ﬁnally ﬁnish was before what most people describe as the on 31 December when the contract ends. start of the ‘downturn’, before the 2008 ﬁnan- cial crisis, before we agreed the deal with HBOS Strategy & Speed > Of course a clearly deﬁned [September 2008] and before the UK officially strategy is essential in modern sponsorship and entered recession in January 2009’. particularly so for the Olympics when the stakes Indeed, the banks and insurers were the and the investment levels are so high. ﬁrst sector to be invited to tender as LOCOG The days when they chairman simply justi- sponsors (followed by telecoms, auto, oil and ﬁed such deals by saying that they signed up gas and utility companies) back in 2006. because it is the most important event to take Initially the press had seen rival Barclays place in our country in our lifetime are long as the category front runner: perhaps because gone. National pride and gut feeling are not the Games are taking place close to its London enough when it comes to justifying the huge headquarters or maybe because it had a track sums involved in Games deals. record of major sponsorships. But odds for the According to Hancock, Lloyds’ strategy bookies early favourite for the tier one banking is based around its values, realities and its slot dimmed in September 2006 when Barclays strengths signed a £66m sponsorship contract with the ‘In terms of our brand philosophy, we are Premier League. an inclusive organisation. In terms of our physi- Lloyds, which had previously sponsored cal structure, we are based around our on-the- rugby’s Six Nations tournament, seemed to be ground branch network in communities across in a great position as it had few internationally the entire country. This is our reality, so we recognised ﬂagship sponsorships in its portfo- needed to reﬂect this in our Olympic strategy.’ lio at the time and thus had a free and ﬂexible The bank’s sponsorship strategy is grass space to activate in. roots based, nationwide and community-led. Being ﬁrst to sign-up and the ﬁrst to acti- ‘We are not a bank that is all about City vate was key for Lloyds. Of London centric elite performance,’ admits ‘Getting out of the blocks early was indeed Hancock. ‘Neither are we about exclusivity, or important,’ Hancock claims. ‘While we got a stars. So our strategy is built around everyday lot of positive PR by becoming the ﬁrst official customers and local branches right across the partner, it was more vital because we were able country.’ to secure the speciﬁc rights that we wanted, This community-led, grass roots approach having the ability to secure the budget early wasn’t initially designed to take on board the and having the additional planning time that current problematic and negative status of were the most important beneﬁts of our ﬁrst- much of the banking industry, or the recession mover-advantage. Basically, having a ﬁve-and- or even Lloyds’ own part tax-payer ownership a-half-year run at it was great.’ status. But is must certainly help. She particularly stresses the importance ‘It really wasn’t about the recession or the of having the time and space to plan properly, ﬁnancial services industry’s status,’ stresses which Hancock feels is a key reason why Lloyds
> CONTENTS Sponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 38 ‘Advertising, the way I relate to it, tells you the price, the product and where to buy it. But our Games sponsorship will probably not tell you any of that. What it will tell you is all about the brand, this is what we stand for, this is how it relates to you and your community.’ Sally Hancock Group Partnership Director Lloyds TSBnever had to reasses its strategy or budget through from advertising to comms to graduate recruitment and your community.’the entire period. and business events - over that period of time. Hancock says that those at the bank do not see ‘We had the time and space to do it right the ﬁrst ‘Without a media package and because of the sport as a particularly special asset, versus the artstime’,’ she smiles. clean venue rule [no branding is allowed in or on or any other sector. Lloyds is currently looking at its Olympic venues], you have to ﬁnd other channels,’ strategy for 2013, and beyond, and that includes allPlanning & Approach > The Olympics, of course, is emphasises Hancock. ‘You have ﬁve years to plan sectors. It is not limited to sport.not a ‘media buy’ and doesn’t come with a holistic and leverage the opportunities, to use the marks and At no point did Lloyds consider any option oth-media package, which makes some sponsors wary - build around the values of Olympic association.’ er than embedding the sponsorship work with thebut not Lloyds. Lloyd’s activation has been a central part of its bank’s existing ‘For The Journey’ umbrella creative ‘I have never taken media greatly into account in ongoing, everyday central advertising mix for several idea. This seamless integration plan was decided atactivation planning as it’s hard to change behaviour years. In terms of creative, Lloyds Olympic work has the very beginning. For them it was always a brandfrom signage alone,’ says Hancock. ‘In this case the continued with the familiar Rainey Kelly Campbell message not a standalone campaignsuccess of our Olympic partnership is entirely reliant Roalfe/Y&R ‘charming cartoon’ work (along with Ru- According to Hancock this integrated plan wason our ability to activate with integrity and integrate fus Leonard and Finger Industries) featuring ongoing more a matter of effective strategy and consistencywith relevance!’ key characters from the animated Lloyds World. of messaging and creativity, rather than one of bud- For Lloyds, the right route was to fold Olympic There is a difference emphasis though. get expediency.sponsorship activation into its everyday ongoing ‘Advertising, the way I relate to it, tells you themarketing. So leveraging its right became part of its price, the product and where to buy it,’ says Hancock. Structure & Phasing > Lloyds organised its ﬁve-yearcentral marketing roll out. It was a ﬁve-and-a-half- ‘But our Games sponsorship will probably not tell you planning structure for London 2012 activation aroundyear deal through which the costs and returns were any of that. What it will tell you is all about the brand, a four-phase timeline.folded into the bank’s main marketing programme – this is what it stands for, this is how it relates to you ‘We picked our path carefully and mapped out
> CONTENTS Sponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 39a timeline with peaks and troughs’, outlines Han- ‘Now we are in the ﬁnal phase, which for us ‘We are inclusive and community-cock. ‘We did this largely because we realised that is all about celebrating the Games, and the work based, so our London 2012 workrepeating the same messages for ﬁve years would we have done around them, enjoying the Olym- reflects this and leverages it.’become tried and thus the activation would lose pics and experiencing it with the Torch Relay andimpact and partly because we were aware of Team GB and the like,’ she concludes. This is aboutevents that would trigger Games-related interest enjoyment and being inspired by the Games andspikes (such as those around Beijing 2008, Van- celebrating bringing the Games closer to custom-couver 2010, the ‘milestone days-to-go count- ers, communities and employees.downs’ and, of course, the Torch Relay which waskey for us.’ Lloyds TSB’s Four Phase Olympic Activation > So the Lloyds team plotted an engagementplan, which Hancock admits was something of a Phase 1 ‘Awareness’ (2007 - 2008)back of an envelope type framework, which de- Contract-signing to Beijing Gamestailed timelines and peaks based around the pub-lic interest and emotion. These stages were built Phase Two ‘Understanding’ (2008 - 2010)around when Lloyds felt that the public would be Post Beijing to Vancouver Winter Olympicskeen to engage with Olympic stories. ‘In terms of our staged strategy, the ﬁrst Phase Three ‘Involvement’ (2010 - 2012)phase was about ‘awareness’ and making people Post Vancouver to pre Opening Ceremonyaware of our Olympic sponsorship and connec-tion,’ she explains. This stage included using the Phase Four ‘Celebration’ (2012)London 2012 logos on our advertising executions, Just before and during London OlympicsATM receipts and the like and launching its LocalHeroes community campaign focused on young Campaigns & Creative > Lloyds’ Olympic cam-British Olympic hopefuls. paign has been built three key sponsorship pil- ‘Then the second phase was transforming lars in their activation structure: National School‘awareness’ into ‘understanding’ and educating Sports Week, Local Heroes and the Olympiccustomers and stakeholders as to why Lloyds Torch Relay.was sponsoring the Games and about our local, Banks tend to have a harder time engagingcommunity-based, grassroots approach, what it fans than sexier sponsors in more exciting spaces,stood for, how people could participate and what particularly over long periods. So its work haswe were actually doing tangibly to support the been very focused on local branches and grass-Games,’ Hancock continues. roots sport rather than elite performance and big This second phase included a main Local He- name sports stars, because the team believesroes push (supporting 250 up-and-coming grass creative needs to be based on a brand’s reality.roots athletes, some of whom are actually going ‘We are inclusive and community-based, soto the Games) and Lloyds work with the National our London 2012 work reﬂects this and leveragesSchools Sports Week, as well as business-to-busi- it,’ explains Hancock.ness events and tools and the like. Lloyds has been executing a similarly phased ‘The third phase is about involvement and plan to its above- and below-the-line campaignsgiving customers, communities and employees to engage and unite consumers and communitiesthe opportunity to get involved with the Games,’ around the Games.she continues. This included nomination and ‘We are taking a graduated approach to ourcompetition phases for torch relays, participating ATL work, after all, we didn’t want to peak tooin National School Sports Week and supporting soon,’ says Hancock. ‘And so through the keyLocal Heroes. Torch Relay phase we are building up our above-
> CONTENTSSponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 40 the-line support. In England this is focused on sports event. TV, digital and out-of-home, with other media Lloyds TSB National School Sport Week channels being used to spearhead our work in aims to help fulﬁl school objectives for PE and other parts o the UK’. sport, as well as using the curriculum to create The Olympic Torch Relay is one of the three excitement around the London 2012 Olympic pivotal elements of Lloyds activation. Hancock and Paralympic Games. says she believes that the Torch Relay is the sin- This national event aims to provide oppor- gle biggest activation that the bank will do for tunities for young people to try new sports and the Games. In fact, it made the decision to be- feel part of London 2012 celebrations, to raise come the National Torch Relay Partner back in the proﬁle of sport among young people, par- 2007 when it ﬁrst devised a strategy and signed ents and colleagues, to demonstrate commit- on as the ﬁrst LOCOG sponsor. ment to working towards the Healthy Schools ‘We set out a vision then that to maximise agenda. value out of the London 2012 Games we needed ‘So at a school and an educational level we to take the Games to local communities all over have been very much the main partner with Britain. And really make it everybody’s Games,’ LOCOG for that,’ says Hancock. ‘We have also says Hancock. ‘There is no better example of involved many of our Local Heroes in the Torch that promise coming to life than the Torch Relay, Relay programme as the ﬂame has moved which visits so many communities around the through their own communities.’ UK and reaches and touches so many people The team also connected its Torch Relay who would otherwise perhaps not have the op- work to its Local Heroes programme. Work- portunity to go to the Games in London. ing in partnership with SportsAid since 2008, Lloyds has also been heavily involved in Na- Lloyds has provided funding and recognition tional Schools Sports Week and connected this to more than 1,000 Olympic and Paralympic to the Torch Relay too. hopefuls on their journey to London 2012 and ‘We have been encouraging schools to par- beyond. ticipate in the relay and to get involved,’ Han- ‘We’ve been very active in all of the local cock explains. ‘We’ve been encouraging and communities where we have branches. We’ve supporting schools to enter competitions to win encouraged the branches and their staff to get a chance for the convoy to stop as the pass a involved in the relay, and to localise the celebra- school, for schools to win chances for pupils to tion of the Olympics when the torch comes be team torchbearers and so forth.’ through their community,’ she explains. ‘And The aim of Lloyds TSB National School celebrate the local area torch bearers who have Sport Week is to get more young people partic- come through our nomination and competition ipating in more sport and learn about the values programmes.’ of the Olympic and Paralympic Games. Lloyds also asked for nominations from For 2012 Lloyds is helping give schools the four community groups that support young chance to stage their own Games and celebrate people to be nominated for each day or each all that the London 2012 Olympic and Paralym- leg of the relay, and at the celebration sites at pic Games have to offer through the 25 to 29 the relay leg end stopping points ask the pub- June ‘Lloyds TSB National School Sport Week’. lic to vote for their preferred community group This is a week-long celebration for schools and the winning two (of the four nominated) will across Britain, inspired by the London 2012 win £5,000 each. Olympic and Paralympic Games. There is a big fund across 70 days which is In 2011, more than four million young peo- Lloyd’s way of putting support back in to those ple took part, making it Britain’s biggest school communities the relay has passed through and
> CONTENTS Sponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 41in which it has branches. an Olympic Games to organise and this is a mam- The relay is particularly relevant to a com- moth task that isn’t all about any one sponsor. Allpany that doesn’t have an automatic relationship parties need to make sure that the games are aand connection with elite sport. success for each of us, but that also means the ‘We are not adidas or Nike, we are a bank,’ actual Games themselves need to be a success.’states Hancock clearly. ‘But we are in most high In terms of Hancock’s stance on the ongo-streets and part of most communities, and so I ing sponsorship industry debate as to whetherthink the relay is the absolute pinnacle of our the ‘banking and insurance’ segment is too similarGames partnership.’ to the ‘payments’ category (held by IOC global Thus, by the time the Torch Relay ends, af- TOP partner Visa), she argues that Lloyd’s bank-ter a ﬁve year engagement with London 2012, ing category is no more open and vulnerable tothe start of the Olympic Games for Lloyds is just ambush work and sponsor crossover than mostabout the end of the journey. segments. ‘The value that we will have created through ‘We have always known that Visa may lever-this marketing partnership is just about done by age its own rights via some forms of collaborationthen,’ admits Hancock. ‘Because we have had a with its own banking partners (some of whom arelong run in and we have tried to ensure that we our competitors). We knew it could happen andhave leveraged it across the full ﬁve years.’ we haven’t felt threatened by it,’ she states. ‘Spon- sorship needs to work for everyone for the GamesGames Relationships > In terms of its relationship to be a success.’with the property owner, Lloyds has generally In terms of sharing of ideas, strategies andtried to take a light touch with LOCOG and the experiences with other LOCOG sponsors as theGames organisers. ﬁrst sponsor to sign on, Lloyds has played a signif- ‘Obviously the nature of the relationship is icant role in creating intra-sponsor lines of com-very important. While sometimes it feels like we munication. Back in 2008 Hancock set up a formhave been married to LOCOG for the last ﬁve of unofficial ‘partner network’ for London 2012years, overall we have tried to take a fairly light sponsors, which has met around once a quarter. Ittouch with them, because we believe in self suf- doesn’t have a speciﬁc ﬁxed agenda, but has theﬁciency,’ explains Hancock. ‘The organising com- overall aim of sharing information and learnings.mittee can’t be expected to solve all you prob- ‘They have been a balance of the formal andlems for you.’ informal and have proved very useful to us,’ says Hancock believes sponsors need to take con- Hancock. ‘They have helped foster a better leveltrol themselves and pursue their own strategic vi- of understanding the uniﬁed and diverse needssion. of the sponsors’ teams. For example, Visa re- ‘You can’t expect to sign on the dotted line cently hosted a workshop for the group’s sponsorand then expect the organising to have an activa- spokespeople.’tion plan all set up for you,’ she says. ‘You need to For Lloyds this seems to have played out in atake control yourself and pursue your own stra- number of ways, including its joint London 2012tegic vision.’ NFC mobile payments project with Samsung and She admits that perhaps the Lloyds team Visa.may have taken a slightly different approach than ‘As more sponsors came on board this net-some other sponsors and describes the LOCOG work grew and grew and while this was a vol-relationship as being ‘appropriately sensitive to untary group of people, each partner basicallytheir needs’. took turns at hosting the network get togethers,’ ‘We have always tried to minimise any issues clariﬁes Hancock. ‘They have focused on thingswe have had. You need to be aware that they have ranging from practical operational workshops to
> CONTENTSSponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 42 business engagement and crisis planning. More perience of the Beijing Torch Relay in the UK in recent ones have focused on a sense of shar- 2008 and this taught us that we needed to be ing. After all, everyone’s success is our success able to act quickly and nimbly.’ in this kind of collective project.’ In a show of genuine honesty, Hancock Unsurprisingly, these meetings have been even admits that ‘as an organisation back then held less frequently the closer the Gaames have we were probably not perfectly set up to act all come because more of the participants time that nimbly and quickly so we had to address has been taken up with activation, this need’. She points out that societal, economic and Ambush & Event Reaction > Hancock’s line on particularly technology changes come so fast ambush is that while the rights owner has a duty that you need to be ﬂexible enough to adapt. of care, her main feeling on guerrilla activity is After all, when the initial core plan was being that as a sponsor the primary thing is to have made in 2007 Lloyds hadn’t taken over HBOS, conﬁdence in your own strategy and your own the recession hadn’t begun and no one had pre- work. dicted the impact of social media. ‘Focus on your own plan and output and ‘You need to adapt and accommodate to ensure that it is the best it can possibly be,’ she the changing landscape,’ she says as she points advises. ‘If you are leveraging your rights to the out that Facebook and Twitter have been key to best of your abilities you shouldn’t be overly the success of promoting Lloyds’ ‘2012 Track- threatened by the prospect or reality of com- side’ customer programme which has seen the petitor ambushes.’ bank give away 1,500 pairs of tickets and other Asked whether Lloyds would consider legal prizes as Lloyds built a credible social dialogue action if a rival bank did launch some form of with its customers. pseudo 2012 ambush campaign the response is In terms of planning for negative events ‘of course, but the main thing is not to overly Lloyds took two major approaches. fret or focus on such perceived or real guerrilla ‘Firstly we aimed to negate risk on a repu- activity’. tational front by ensuring that the work we did, ‘We certainly aren’t going to be jumping our activation and our messaging was authentic up and down and kicking and screaming if 10 and genuine. We wanted to ensure there was blokes turn up in the Olympic Stadium wearing no inappropriate irrelevant activation and thus Barclays Premier League Football shirts.’ make sure we were not accused of being disin- Furthermore, when discussing the ﬁne genuous,’ Hancock explains. line between official sponsor legal protection ‘Secondly, we also set up an operational and overzealous anti-ambush legislation, Han- framework to use strengths and skills from cock’s belief is that some official partners have across the organisation to build a team that ‘perhaps been a touch too sensitive about the could respond to any issue that might arise ac- rings and logos and the like - especially when it cording to a pre-agreed framework. This ranged comes to small pubs and the like’. from HR and support services, to legal skills and Lloyds has been careful to build in ﬂexibility litigation issues. We have a huge machine, a big into its phased campaign structure in order to team of experts internally to address matters as accommodate live learnings or react to chang- they arise. So we aim to be prepared for events ing circumstances. – whether that be a transport strike during the ‘We have certainly built in some ﬂexibility Games or competitor ambush activity or even into our framework to adapt to events as they service failure.’ evolve and news at it breaks,’ she states. ‘In the planning phase we certainly looked at the ex- Post Games & Personal Learnings > What
> CONTENTS Sponsor > Lloyds TSB > LOCOG > London 2012 > Lloyds TSB’s Olympic Journey 43about after the Games? What can we expect from Lloyds TSB on > Click text below for linksthe sponsorship front post London 2012? Lloyds TSB TVC 1 > YouTube ‘Post London 2012 you will see an ongoing emphasis on com- Lloyds TSB TVC > YouTube 2munity engagement and partnerships, and some continuation of Lloydst TSB London 2012 > Websiteactivations we have developed for London 2012,’ asserts Hancock. Lloyds TSB London 2012 > Facebook After working on the London 2012 programme for so long, LLoyds TSB Local Heroes > WebsiteHancock says that the scale, depth and breadth of such a project Schools Sports Week > Websitehas taught her much about which are the key skills needed to lead, Torch Relay > Websiteorganise and run a successful Olympic sponsorship campaign? LOCOG > Website ‘Thick skin, ability to think strategically, pulling in the right ex-perts at the right time, strong programme management expertise,good governance model, and being prepared to trust instinct!’she says without hesitation. ‘This could be a paper or an article inits own right.’ Hancock is clear that there is a real difference in approach andskills needed compared to working on such a sponsorship initia-tive from an agency side. ‘Being able to shift from working across a certain number ofclients to a certain depth, to being all over the detail on a verticalend-to-end project – this is a key difference,’ she says. ‘The abilityto manage stakeholders and manage upwards internally has beenvery important, as has rigour around process management, risk,operational issues. You don’t tend to see these as much when inan agency.’ Her main advice to those national Rio 2016 sponsors ﬁne-tuning their strategies is as follows: ‘make sure you have a strongcontract, a solid and clear differentiating strategy, work out yourGames USP and don’t rely on the organising committee!’ As to how her London 2012 experience has shaped her long-term view of the evolution of the wider sponsorship and partner-ship marketing space, Hancock certainly sees changes in the fu-ture. ‘We have been very self reliant with our sponsorship. It has,in effect, been a licence to market in the Olympic space and it’sworked for us. But generally I see a trend away from this structuremore towards brand created entertainment, more ownable prop-erties and activity closer to community and social responsibilitythan has been in the past’. <
Festival Boom: Amplifying Experiences 2012 is becoming the year of the festival. Record statistics are being racked up around the world. People seem more willing than ever to pay a premium for the live, one-off experience. Festivals are the bright spot in the music world’s ongoing struggle to redefine the industry in the digital age. As the live music scene booms, brands and sponsors have been increasingly focused on leveraging thepower of the festival experience to provide long term engagement with a captive, passionate audience.
> CONTENTSRights Owner (Bestival) & Agency (Get Involved/In Bed) > Festival Boom 45 2011 posted record festival attendances and, despite a fallow The UK alone will see 670 major year for Glastonbury, 2012 is already surpassing 2011’s numbers. live music events and festivals From the staggering 12,000 performances and 25,000 art- this year, while a further 2,500 to ists at the Olympics cultural festival, to the 2,286 acts at South 3,000 will take place in Europe. By Southwest 2012, plus record crowds of 85,000 per day at Bel- gium’s Rock Werchter and Scotland’s T In The Park and an amaz- ing 220,000 fans at the Heaton Park return of The Stone Roses, live music is going from strength to strength. According to trade group IFPI, the shift in emphasis from re- corded albums to live performance has seen US live music rev- enues double in the last decade to $4.6bn a year. The picture in the UK is similar with live ticket sales quadrupling over the last 10 years to $2.4bn. According to Mintel, UK live music sales rose 69% and admissions were up 29% between 2005 and 2010. And despite warning about growth slowing in recent months due to the downturn, declining consumer conﬁdence, higher youth unemployment and high ticket prices, audiences continue to grow. According to trade magazine Q the UK alone will see 670 major live music events and festivals this year, while a further 2,500 to 3,000 will take place in Europe. A decade ago it was so very different. Many musicians saw live shows as compulsory marketing platforms for their cash cow albums. Now the opposite is true. According to PRS For Music, 2008 was the ﬁrst year that musicians in Britain made more mon- ey from live performances than from recorded music sales. With a wealth of new live channels, 2012 has seen a slew of innovative campaigns from festival sponsors leveraging real time platforms to activate their rights by enhancing the festival goer’s experience and even connecting and embedding digital audienc- es into live events. Of course, this wave of festival success presents rights own- ers, sponsors and bands with a fresh set of challenges. Festival goers are beginning to complain about being over- whelmed with marketing messages and sponsor activity, while an increasing number of partners feel the live music stage is becom- ing too cluttered. To complicate matters further, as more musi- cians are signing deals with brands, we are now seeing a clash between festival sponsor rights and band sponsor rights. And then, of course, there is the weather. Activative interviews two leading festival marketers, both rooted in bands, brands and music, to explore the opportunities and challenges thrown up by the live music boom. Gary Pitt is the managing director of brand partnerships agency Get In Bed and Ziggy Gillsenan is the owner of sponsor- ship and event agency Get Involved Communications and the co- Gatorade > NFL Everything To Prove promoter/co-owner of the Bestival and Camp Bestival festivals.
> CONTENTS Rights Owner (Bestival) & Agency (Get Involved/In Bed) > Festival Boom 46 Intreview Q&A: Gary Pitt & Ziggy Gilsenan > GP & ZG: As an agency we work with event‘Really get inside the mind of the festival audiences. owners to develop a range of brand partnershipYou need to know what is important to them. And Activative (AV): Is ‘successfully enhancing strategies. We create and tailor the right tools the festival experience’ the underlying key to and opportunities to fulﬁl their needs and thethis changes every year. Having this knowledge great festival activation. needs of the event. As such we see it from both Gary Pitt & Ziggy Gilsenan (GP & ZG): The sides and sit at the heart of these owner-spon-allows you to suggest ways which brands can market has changed signiﬁcantly over the last sor collaborations and create bespoke solutions few years and increasingly brands are looking for each client. Whilst there are common strate-successfully and strategically engage with festival for ROI from any sponsorship whether that’s via gic goals, ROI etc, as an agency it is importantaudiences and get the return they need.’ sales, PR, social interaction or content, but the to be constantly evolving and developing new route to success remains the ability to create solutions that cut through in this noisy market- solutions that add value or enhance consumer’s place and are tailored to speciﬁc needs. experiences at live events. AV: Some festivals are adamant that they AV: Where do you start when it comes to only collaborate with brands that directly con- successfully enhancing an experience? tribute a service to the event itself, while others GP & ZG: Really get inside the mind of the are more comfortable taking a sponsor’s money festival audiences. You need to know what in exchange for logo-led brand awareness op- is important to them. And this changes every portunities. What are your thoughts on this de- year. Having this knowledge allows you to sug- bate and where do you sit? gest ways in which brands can successfully and GP & ZG: Brand partners play an important strategically engage with festival consumers role in the festival economy. Without brand sup- and get the return they need to justify the in- port the level of production and creativity which vestment. a ticket buyer has come to expect could not be delivered. But different events have different AV: Does a festival goer’s passion for mu- needs and approaches. sic lie at the heart of a successful festival? If so, what are the most innovative ways you have AV: How careful are you when considering seen a sponsor/partner enable or enhance this which music festival brands you choose to part- ‘passion’? ner with? GP & ZG: Initially festivals were all about GP & ZG: We like to work with likeminded the music line up, but our research has shown brands and event owners who provide oppor- an interesting cultural development in terms of tunities and challenges that excite us the ‘reasons’ people attend festivals. As festival promoters have listened more and more to their AV: Are there industry sectors and catego- audiences, the range of attractions on offer has ries you are most keen/least keen to bring on broadened. Camp Bestival is a good example of board as sponsors? this - who would have thought that Mr Tumble GP & ZG: Partnerships seem to fall into two would draw as big main stage audiences as sectors: brands that have a vested interest in headlining music acts? This groundbreaking being there and selling/sampling their product family festival approach to programming is one exclusively to an audience whilst at the festival example of how the marketplace is changing. (eg consumables drink/food/fashion/FMGC etc), and those who are looking to align them- AV: What is your own umbrella strategy/ selves with the particular festival’s brand and philosophy for the role of commercial partners values and its audience. This latter approach is and the way that they activate? a more strategic relationship often rooted in in-
> CONTENTS Rights Owner (Bestival) & Agency (Get Involved/In Bed) > Festival Boom 47teresting marketing and content objectives. have longevity. Festivals provide a great environ- “he most effective partnerships ment for activation, but brands need to be think- are about genuine collaborations AV: Do you have to apply different strategies ing longer term to get the deeper connections that add value to the consumer,and tactics to activation for each of these two and desired results in terms of ROI. One recent brand and event owner. It is alsogroups? example of this from our perspective is that we important that they integrate GP & ZG: As an agency we work with promot- recently worked with brands like Eristoff and Re- into the creative landscape of theers to develop bespoke packages which can de- play to created music programmes driven by tal- festival and ‘fit in’ in the eyes ofliver speciﬁc objectives unique to the brand. It’s a ent, activated in the live festival environment and the consumer, this ensures thatmuch more sophisticated process now. In general rooted in generating exclusive content and PR the brand and the event retainterms, organisers want to be working with brands year round. credibility.’that are the right ﬁt and will not bring the risk ofnegative PR with them. We employ a process of AV: How do you work with your sponsors tocareful ‘Sponsor Matching’ - meaning the brands maximise the return on their investment - whatwill be accepted by the audience and the cam- kind of framework/programme do you have inpaigns more likely to succeed and deliver ROI. place to work with them individually and ensure they maximise the opportunities available? AV: How far are you willing to change/adapt GP & ZG: We’ve always encouraged brandsthe festival offering to meet the needs/requests to set speciﬁc and measurable objectives forof your partners? Do you have any red lines that their experiential campaigns, and attribute KPI’syou will not cross? to these. Focussing on speciﬁc objectives makes GP & ZG: The most effective partnerships it much easier to evaluate. One example of thisare about genuine collaborations that add value may be a brand with the objective of growingto the consumer, brand and event owner. Com- Facebook ‘likes’. We encourage the brand to putmunicating clear expectations is important, so we achievable and realistic numbers on this to a tim-create Brand Guidelines for each event so policies escale – for example to grow ‘likes’ from 2,000and opportunities are clear from the start. to 20,000 in a three-month timeframe. We’ll then put in place a series of mechanics focussed on de- AV: How important is it for brand to contrib- livering these objectives, we’ll have a tight cam-ute to the artistic experience and how can they paign plan and we can monitor on a daily basisachieve creative credibility? how we are performing against the clients’ objec- GP & ZG: It is also important that they inte- tives.grate into the creative landscape of the festivaland ‘ﬁt in’ in the eyes of the consumer, this en- AV: The old days of logo-led, on-site festivalsures the brand and event retain credibility too. branding are gone, but what is replacing them? GP & ZG: Brands have learnt that successful AV: When both brand, rights owner and activation can be achieved in so many more waysperformer work together in harmony, amazing other than logo-led branding. Working closelypotentials can be created and realised and this with brands, we encourage them to look at theis what drives/enhances the experience for the customer journey in its entirety - year round.music lover (and creates brand/band/festival ad- From how consumers buy tickets to keepingvocates for the future). What are the outstanding them updated on line-ups and essential informa-examples of such synergies from your current/ tion, to how they experience content post event.recent programme? There are a myriad of speciﬁc needs as they GP & ZG: For us it is about creating clever move through the customer journey and success-strategies led by big creative ideas, that can be ful brand partnerships address these needs andexecuted across multiple marketing channels and connect with the audience. We know how effec-
> CONTENTSRights Owner (Bestival) & Agency (Get Involved/In Bed) > Festival Boom 48 tive this kind of relationship is and will always AV: Are some festivals become too clut- encourage brands to think on a deeper level tered with brand logos and advertising? rather than focusing on over-branded collateral GP & ZG: We’ve seen the effects of too on site. many brands activating badly or in an old fash- ion manner at festivals – a festival’s creative di- AV: We have seen a slew of innovative rection is erased by over-the-top branding and spaces used for sponsor messages in recent naming rights, and the festival brand struggles years - from the back of tickets and instruments to shine through. However we use exit surveys played on stage to brands actually sponsoring and qualitative research to get valuable feed- bands themselves - what are some of the more back from festival visitors and in many cases original spaces you have seen in recent months? ask detailed questions about brand activity. We GP & ZG: The sheer scale of managing are encouraging brands who share similar tar- 50,000 campers in a ﬁeld, multiple music are- get audiences and common attributes to make nas and artists means the festival business has broader partnerships with festivals which run to continue to innovate to ensure efficient deliv- year round. ery, ticket value and happy punters. RFID wrist- bands and NFC technology is the buzz innova- AV: Are some festival goers being over- tion to be trailed this year, meaning people will whelmed with marketing messages, sampling be able to ‘sign in’ to different tents and ‘like’ the programmes, sponsor activations, company of- bands who are playing automatically on Face- fers and the like? book by the simple tapping of a wristband on GP & ZG: Achieving standout is certainly a reader device. All these new digital engage- getting harder. It’s not just at festivals that con- ment opportunities will become more common sumers are being bombarded with out of home over the next few years and brands are already marketing messages. Events across the spec- partnering with these opportunities For exam- trum have opened up all available channels for ple, the RFID wristbands at Wakestock 2012 are brands to deliver messages to consumers. sponsored by Samsung. AV: How can sponsors cut through this AV: How are you working with your part- clutter? ners to activate by connecting festival-goers GP & ZG: Research shows that consumers with one another both pre-, in- and post-festi- are increasingly switching off to badging and val? banners as their brains learn to blur out the clut- GP & ZG: Social Media has become the pre- ter. Only the messages which are relevant and ferred route of communication by the events important get through this subliminal ﬁltering and their fans. Clever use of social media pre, process. This must be considered when plan- in and post event is included in most successful ning festival activations. Brands need to do brand partnership campaigns and it’s important something which connects with the individual that an agency in this space has a social media and gives them reason to remember the brand. activation division to ensure this highly effective medium is utilised to its fullest. As an agency AV: As bands/artists themselves are in- Get in Bed has understood the importance of creasingly collaborating with sponsors/brands, this and our in house digital and social media does this create a new challenge for festival teams are work closely with brand managers rights-owners and how are they reacting to this and event owners to ensure the opportunities challenge? are fully exploited and managed correctly. GP & ZG: Brands must appreciate that the ‘rights’ for them to market to the festival audi-
> CONTENTS Rights Owner (Bestival) & Agency (Get Involved/In Bed) > Festival Boom 49ence are held ultimately by the event organiser. sumers to engage with the unique elements of > Click text below for linksHaving a clear brand partnership policy which is the festival and performances in this manner is Website > www.getinvolvedltd.comadhered to by all is the only way to manage this. going to be a signiﬁcant development in future Website > www.bestival.net years. Technology is allowing consumers the op- AV: How can you combat any lack of conﬁ- portunity to choose which bands they watch anddence/security on behalf of your sponsors/po- in some cases, which camera angle and bandtential sponsors relating to the increasing number member they can zoom in on (ie Mativision). Also,of festivals that have been cancelled in the last promoters can have control on which brand mes-few years? sages are seen by viewers by their age, territory GP & ZG: Event cancelling is unfortunate, or the time - a little more science can be appliedbut it underlies the importance that brands are to who’s seeing what. This is a ‘win win’ for pro-careful to work with the accomplished events moters and brands.and agencies which understand how to activateat music festivals. At Get in Bed we do our own AV: Are there potential pitfalls and risks asso-due diligence on the events we work with to en- ciated with this trend too? How might it play out?sure the risk of cancellation is absolutely minimal GP & ZG: In the USA Coachella festivals live– that way we eliminate much of the risk in the streams were subject to a complete buyout byﬁrst place. YouTube. This means that ads now displayed on the live streams and recorded content is governed AV: Festival audience numbers continue to by YouTube who can keep selling the inventory.rise, but a new trend sees a parallel growth in cy- Whilst the buyout rights revenue is attractive tober audiences experiencing the live event across the promoter, it runs the risk of separating themdigital channels. Are we going to continues to from the brands who have traditionally partneredsee more official festival and/or band sponsors with them, with the streaming platforms beneﬁt-activate by streaming live concerts online - thus ting from their new found power. Will the plat-swelling the property’s audience reach whilst also forms respect the rights of the exclusive sectorengaging with global consumers? deals for the festival, or will the lines become so GP & ZG: Yes. Firstly it allows the promoter to blurred that it becomes almost impossible to of-display their festival brand to a global audience. fer ‘exclusive’ agreements which cover both theThere may be 50,000 who buy tickets and visit physical festival and the online content?the event, but millions who would want to watcha headline performance streamed online, so the AV: Thank you both so much for your insightspotential is huge. This clearly allows promoters to and we hope the rest of the summer stays dry. <tap into wider media budgets rather than beingrestricted to ‘experiential’ or ‘out of home’ bud-gets. Advertising budgets still make up the lion’sshare of the overall marketing spend. AV: Sponsors are also using new technicaltools to embed online festival-goers into the liveshows (eg Twitter votes to choose tracks for theperformer or appearing in on-stage video back-drops via webcam). In your opinion what aresome of the main advantages (and key dangers)of this trend? GP & ZG: Creating an opportunity for con-
Cyber Concerts: A New Lease Of Live In a digital age where information and media is abundant, it’s live experiences that people value most. To break free of the physical and capacity constraints atvenues, more sponsors are trying to sweat the assets by embracing the ‘digital live’ trend; where connected technologies and social media take the thrill of the live performance to fans at home. Cyberaudiences are not only being plugged in to the show, but are even featuring on stage. Dan Southern, of Contagious Magazine, explores one of the music activation phenomena of 2012.
> CONTENTS Consultant > Contagious’ Dan Southern > Cyber Concerts > New Lease Of Live 51Last month R&B superstar Usher played a rela- cases (like Amex) connecting fans to the stars oftively intimate gig at what for him was a fairly the shows themselves.small venue - London’s Hammersmith Apollo. It all makes for an experience that is more Why would such a global heavyweight play personal, more spontaneous and, as a result,such a small theatre to celebrate the release of his more memorable for fans.seventh album? Because venue size doesn’t matter when Broadcast & Involve > Digital live isn’t reservedbroadcasting a live show to millions on YouTube. for big buck brands with global mega-stars to trot Paid for by sponsor American Express, the out at their convenience though. In fact, it’s thegig included a giant Twitter ticker above the stage success at a much smaller level that suggests itscrolling show-speciﬁc tweets from cyber concert should be practical and appealing to rights hold-goers. The whole show was designed to make the ers and their clients.16-year-old schoolgirl in her Indiana bedroom as Boiler Room, an invite-only underground mu-much a part of the experience as the live fan who sic night in London, has been hosting Monday eve-had paid top price for front row tickets ning events around the city for the last year. The In fact, the Usher show was not American night isn’t limited to the 150 who attend though;Express’ ﬁrst online streaming project. The pay- each week tens of thousands more tune in via aments brand is one of the sponsors leading this live stream to watch the DJs, through which theynew trend. can also connect to one another in a chatroom Earlier this year, at technology and music and follow Tweets about the event. In a similar ilkfestival SXSW in Austin, Texas (USA), American in Japan, Dommune is a site that can draw up toExpress hired rapper Jay-Z to perform a con- 60,000 viewers a night to live DJ sets broadcastcert to adoring Amex card-toting fans and their through UStream, an online broadcast platform.mates. However it wasn’t just the 2,700 people It’s not just music that internet users are tun-who managed to get invites for The Moody The- ing in to enjoy live though. Twitch.TV is a site thatatre gig who were able to soak up the amazing allows video game fans to simply watch otheratmosphere. gamers play video games. Sound niche? Think The brand streamed the entire concert live again. The site is experiencing rapid growth withon its own YouTube channel - and even gave peo- ﬁgures in October 2011 suggesting it was receiv-ple the chance to request songs via Twitter. ing 4.2 million unique visitors a week who each Speaking to Wired Magazine before Jay-Z spent on average 1.5 hours watching contenttook to stage, Leslie Berland, American Express’s there.senior vice president of digital partnerships said, What all this amounts to is that, ﬁrst and‘When we approached it, we were thinking, ‘How foremost, technology is now able to deliver a highdo we mix music and technology and interactive quality and engaging live experience via the in-and put it all together, but really in a way that ternet for fans sat at home. Pervasive networks,stands out?’’ whether mobile or ﬁxed, can deliver content to Amex, of course, isn’t alone. audiences of any size whenever, and wherever More sponsors and rights holders are looking they might be.to ‘digital live’ experiences in order to create value It also demonstrates that ‘live’ is a premiumand connections with fans that are beyond the engagement opportunity and it can be enhancedarena. And in addition to simply broadcasting the though social tools, as television has found out inevents to their desktops, laptops, game consoles, recent times. Over 64% of 16 to 25-year-olds nowtablets and mobiles, social elements are also be- watch TV whilst using some sort of second screening introduced to help enhance the experience, (such as a mobile or laptop) at the same time. Re-by connecting the fans to each other or, in some
> CONTENTS Consultant > Contagious’ Dan Southern > Cyber Concerts > New Lease Of Live 52 search from Discovery Networks has found that year, YouTube partnered with Skol, the beer of the people who use a second device whilst brand, to organise the official carnival channel. watching TV, 32% said they were more likely to It featured a playlist of videos from concerts, pay attention to what they were watching and dances and carnival hits and a map function 24% said they felt more connected to the con- so that viewers could see where else in the tent they were watching. So augmenting live world people were watching the Carnival. Es- experiences with social elements is a good way teban Walther, marketing director, Google Latin to drive engagement, and get people closer to America, said: ‘We want to transform this expe- content that they’re passionate about. rience into a truly digital merrymaking, bringing So where else have digital live activations the Carnival to all 800 million YouTube users’. been deployed by brands? The brand also created a mobile applica- tion that helped people follow the activities live Pepsi, Billboard & Katy Perry > In June Pepsi and keep informed about various events on the and Billboard kicked off their ‘Summer Beats’ Carnival agenda. Carnival-goers could also use live series with a Hollywood show featuring the app to stay in touch with friends who were Katy Perry which was broadcast online on also celebrating Carnival. Pepsi’s website and Twitter page. This special on-demand live performance, which part of a Wrigley’s & La Blogotheque > Wrigley’s 5 Gum publicity for the US ﬁlm premiere of Perry’s new recently teamed up with innovative under- Paramount Pictures ﬁlm ‘Katy Perry: Part of ground French music blog La Blogotheque and Me’, was streamed across www.pepsi.com and YouTube to create The Switch. @Pepsi. This was a series of exclusive music perfor- Sponsors Billboard and Pepsi gave away mances ﬁlmed in private apartments in the US more than 500 tickets to local Katy Perry fans and live streamed on YouTube. via a series of Tweets that reveal pop-up street Each concert features two bands play- teams around Los Angeles. More interestingly, ing simultaneously and viewers can choose to fans tweeting about the event using hashtag watch the artist to suit their mood, or ‘switch’ #KatyPerryNow were able to directly inﬂuence between the two. elements of the show in real-time by following The ﬁrst event aired on 28 March and fea- directions from @Billboard and @ Pepsi. tured artists Theophilus London and Givers per- forming in two apartments in Brooklyn. In ad- Cellcom Israel > Last year, Israeli telecoms dition to streaming live on the social platform‘Live is a premium engagement opportunity that brand Cellcom hosted a series of virtual gigs however, the brand has also posted recordings for Israel’s youth in a special Facebook festi- to La Blogoteque’s YouTube channel with thecan be augmented through social tools. Digital live val. Viewers of Cellcom’s Volume Festival could Brooklyn addition quickly racking up 150,000 convene online at a designated time to watch views.solutions offer the music industry a chance to scale band performances while commenting live viaaudiences for live events and create a new route for the social network, their musings broadcast to fellow viewers. Bands were encouraged to en- Jose Cuervo (Brazil) & OK Go > Last Novem- ber, music band and online viral sensation OKsponsors to create value for fans.’ gage with fans and reference the comments, Go took part in a campaign for Cuervo Tequila while watchers could light virtual candles of in Brazil. The branded sponsored pop-up ‘oneDan Southern support. shot’ gigs in Sao Paulo and Rio de Janeiro which were streamed live to the Cuervo Gold website.Senior Consultant Skol & YouTube At Carnival > Sticking with the However, to get more involved in the ex-Contagious festival spirit, for Salvador Carnival, Brazil this perience, fans could sign into the site through
> CONTENTS Consultant > Contagious’ Dan Southern > Cyber Concerts > New Lease Of Live 53Facebook Connect or using the Twitter hashtag > Click text below for links#shotcast. By doing so, their proﬁle pictures were Boiler Room > websiteturned into pixels to form the video’s images. Dommune > websiteThose viewing the content online could hover La Blogotheque > websiteover the individual images to see fans’ comments Contagious > websiteand tweets.Augmented Audiences > It’s well known that, inspite of all the hubris, the global market for sportssponsorship is far in excess of that for music. Infact, in the FT last year the IEG Sponsorship Re-port was quoted as contrasting the $1.8bn spentin music to the $13bn market for sports rights. Digital live solutions could offer the music in-dustry a chance to scale audiences for live events,and create a new route for sponsors to createvalue for fans. By the same token, it could makethose intimate and premium events more feasible,by delivering a larger audience. What’s more, a connected audience that’sengaged and actually involved in the content canbetter deliver earned media value. Primarily this comes down to sweating theassets, rather than sweating in the moshpit. <Dan Southern is a Senior Consultant at Conta-gious Insider > For more information please con-tact: E - firstname.lastname@example.org T - +44 (0)20 3206 9263
Opera Rocks, Or It Dies! Opera polarises opinion. As anyone who has seen the current Go Compare TV spots couldtell you. To say it as elitist is a cliché, but it doeshave an exclusive reputation. In the past opera sponsors often perpetuated this image, but opera is now applying the same innovative approach to partnerships and accessibility as it has to its increasingly spectacular visual stagings. Financial necessity and visionary thinking are altering the landscape. Makingopera more relevant and open is an expensiveand challenging undertaking, so sponsors areincreasingly seen as a key part of the solution. Rachel Clarke, Director Of Four Sports, Arts & Sponsorship investigates.
> CONTENTSAgency > Four Communications’ Rachel Clarke > Opera Rocks, Or It Dies 55 Opera companies internationally are being Blending Entertainment Genres > One of the forced to change, or to close their doors for sponsorship trends of the summer has been the good. Many opera houses and companies in blending of the music and sports entertainment their current state are not sustainable. A combi- genres in Olympic sponsor activations. For ex- nation of factors, from the clichés that surround ample both Coca-Cola’s ‘Move to The Beat’ it and a percieved resistance to change, to high and adidas’ ‘Take The Stage’ London 2012 cam- ticket prices, state cuts and the recession, are paigns revolve around music. Opera, it seems, driving this new reality. has got in on this Olympic trend too. In New York opera attendances have fall- BP, the premier partner of the London 2012 en from 97% capapcity in 1959 to around just Festival, has linked its existing partnership with 60% today. Demographics also make for bleak The Royal Opera House (ROH) and with the reading, as the average subscriber to the NYC IOC’s Olympic Museum in Lausanne to use the Opera is now 55 years old and the average age opera house as a venue for a free Olympic exhi- for New York’s Metropolitan Opera Company is bition. The Olympic Journey: The Story Of The closer to 80. What’s more, The Met carries an Games recounts Olympic history by showcas- accumulated deﬁcit of $47m. ing the feats and endeavours of a set of ancient This reputed lack of interest in opera and modern Olympians.. among the young has led some to conclude For the ROH and its sponsor BP, which is that the death of opera is imminent and others also the Official London 2012 Oil & Gas Partner to focus their strategy as they seek innovative as well as the Games’ Sustainability and Carbon ways to revive it. Offset Partner, this initiative opens the doors of Other forms of art and culture, from musi- the building to new demographic groups from cal theatre to museums, are seeing attendances young sports fans to Olympic ticket holders and rise, so can opera be pulled back from the mar- tourists. It is likely many of them will have never gins of mainstream musical entertainment? considered crossing the Opera House’s thresh- Can opera rock? old before and it creates a new link between op- As an art form it has long had a heritage era and these alternative demographics. of creative risk taking and we are now witness- Culture will be an important legacy of the ing an increase in original approaches to opera Games and by blending the two entertainment sponsor initatives that attempt to remove this properties all parties have the opportunity to veil of exclusivity, expand the genre’s reach, connect with, involve and inspire youth. open up to more socially diverse groups and new audiences and reverse the decline. Live Screening & Live Streaming > For BP its Traditionally, opera sponsorship has been core ROH partnership is all about access: open- dominated by ﬁnancial services partners and ing up world class opera and ballet through luxury products. These companies typically its BP Summer Screens programme. Indeed, linked with opera to add a touch of arts-sup- live broadcasting is perhaps the tactic that has port to the corporate social responsibility pro- done more than any other to reverse opera’s de- gramme and align with a property that boasts cline and introduce new people to the art. ‘excellence’, ‘sophistication’ and ‘quality’ as key A fascinating new development in the brand values in order to connect with AB1 con- world of opera is screening live performances sumers and to leverage luxury-led hospitality to cinemas, reaching audiences for whom travel opportunities. So how this new wave of innova- or ticket price is a barrier tion affects artistic quality and integrity will be While BP’s programme brings live opera vital if it is to achieve long term success? to public open spaces, in 2011 Bank of America But what does this new landscape look like? Merrill Lynch signed a three year deal to support
> CONTENTSAgency > Four Communications’ Rachel Clarke > Opera Rocks, Or It Dies 56 for the Royal Opera House’s ‘Cinema Season’. who may never have seen an opera before to This initiative takes opera in to 780 cinemas in experience a top quality production in an en- 22 countries around the world. The reach is im- vironment in with which they are already com- pressive. In 2009/10 the programme reached fortable and familiar. After all, pretty much ev- 150,000 people and part of the sponsor’s con- eryone has been to the cinema. tribution to the scheme will allow research into These screenings, in DVD-style, also often the audience that attends these events. combine interviews, background analysis, subti- A similar partnership between New York’s tles, and backstage tours – all providing a richer Met and Bloomberg, called ‘The Metropolitan all-round introductory experience and opening Opera Live In HD’, has been credited by some up opera for someone to get a taste of the art as saving the premier US opera from ﬁnancial form for the ﬁrst time. oblivion. This brand-backed series of live opera Of course, for existing opera lovers it means performances transmitted in high deﬁnition via lower entry prices and less travelling so offers satellite to more than 1,000 venues, primarily the chance to see more performances cinemas, has been running since 2006. Another, even more innovative, recent ap- ‘Live in HD’ is seen as a keystone to The Met’s proach to live screening saw Swedish bank SEB ﬁnancial turnaround since 2006. In 2010/11, ac- sponsor sing-a-long opera sessions. Presum- cord to Peter Gelb, the Met’s general manager, ably appealing to word-perfect fans, a perfor- 2.4m people in 1,500 theaters in 46 countries mance was broadcast from the concert hall in bought tickets to the Live HD series last year for Stockholm into 30 cinemas around the country a gross of $47m. The fresh approach seems to and the audience invited to join leading singers be rubbing off on live attendances too with the in classics from Carmen and the Magic Flute. percentage of seats ﬁlled increasing from 77% in 2005/6 to 88% in 2010/11. Brand Curated Opera > Another contemporary ‘Live in HD’ continues what is an 80-year marketing trend is branded curation and brand- tradition for The Met of broadcasting live per- ed content. Again, opera is becoming part of formances to radio listeners globally on the Toll this new communications wave. Brothers–Metropolitan Opera International Ra- This summer sees premium Italian beer dio Network. And most ‘Live in HD’ transmis- brand Peroni tour its own opera across the UK. sions are also simulcast via Sirius Radio, iPod Opera di Peroni is a collaboration between the downloads,as well as being live streamed on the SABMiller-owned beer brand, new company Go Met website, plus there are free opening night Opera and musician/producer Kwes. outdoor screenings in New York’s Times Square ‘Peroni Nastro Azzurro and opera share and Lincoln Centre, as well as free HD broad- many values and a long-standing Italian heri- casts into several New York City public schools. tage,’ says Richard Ingram, Director of Con- Glyndebourne has also been experiment- sumer Marketing at Miller Brands UK. ‘Opera di ing, broadcasting performances of Wagner’s Peroni allows us to combine the contemporary, monumental Die Mistersinger to 50,000 people modern and stylish values of our brand with the in 40 UK cinemas and the IMAX screen at the passion and spirit of opera to create something Science Museum, as well as a media collabora- unique and innovative that is relevant and ap- tion seeing it streamed free on the Guardian’s pealing to a new generation of opera fans.’ website for three weeks. The undertaking was It features young singers performing the sponsored by Audi who ‘liked the German angle greatest hits from Italian opera in a fresh, con- and the link with quality’ according to head of temporary way. Opera di Peroni will run across development Andrew Higgins. two seasons (spring/summer and autumn/ These movie-style broadcasts enable those winter) and will encompass two productions of
> CONTENTS Agency > Four Communications’ Rachel Clarke > Opera Rocks, Or It Dies 57authentic Italian operas performed in a contem- with the company’s brand value of innovation. ‘Opera di Peroni allows us toporary style with an eclectic, modern soundtrack. Scottish Opera also took its ‘Little bit of …’ se- combine the contemporary, Creative director James Hurley, who has pre- ries – twenty minute long operas - in a box to T-in modern and stylish values of ourviously worked with Opera North and the ENO, the Park. ‘They are also popular in meeting rooms brand with the passion and spirithas worked with the brand, Go Opera and Kwes or corporate canteens,’ says Penny Lewis, and the of opera to create somethingto breathe new life into the genre. The team have likes of investment managers Baillie Gifford agree. unique and innovative that isreworked the music and staging speciﬁcally for relevant and appealing to a newa new generation of potential opera fans while Refreshed Hospitality > Of course, these new ap- generation of opera fans.’staying true to its classical Italian roots. proaches don’t mean that traditional opera spon- Hurley comments: ‘Throughout the creative sorship programmes should or will disappear. Theprocess it has been crucial to stay true to the op- three great opera brands - La Scala, Milan, Theera’s essentially Italian heritage while making the Metropolitan Opera in New York and the Royalwork feel fresh and innovative to stimulate the Opera House in London, all lend themselves to apassion of a new audience, many of whom may company wanting to promote brand values of so-have never seen an opera before,’ comments Hur- phistication, creativity, luxury and quality.ley. ‘The team and I have had the creative freedom Hospitality is without doubt a key beneﬁt ofto produce a completely unique musical-theatri- sponsorship and remain so. After all, opera pro-cal event which pushes the boundaries of what ductions have relatively few performances, andpeople may have come to expect from a night at so tickets to prime productions have a strong rar-the opera. We encourage everyone to leave their ity value and pull on guests.preconceptions at the door!‘ Opera hospitality also beneﬁts from pro- For the opera company, the brand’s support viding access to powerful opinion formers andoffers not just an economic boost but also a fresh ddecision makers – particularly as opera really isplatform for their art. While for Peroni it provides part of the establishment.a vehicle to build on its existing umbrella comms ‘Opera can be a great route to tap into Scot-idea based around Italian heritage. land PLC,’ says Scottish Opera’s Penny Lewis. For both of them the alliance is an attempt to Jane Storie, Head of Corporate Sponsorshipappeal to a young, taste-savvy clientele. at the Royal Opera House puts this another way: ‘when people become our partner they becomeNew Commissions & New Venues > Commission- part of the conversation at the centre of London,ing pop and rock superstars to pen new musicals about what makes this city great’.has also been one route opera houses have used But the big opera companies are also tryingto try and reconnect with younger audiences and hard to appeal to a younger demographic and linkstage more relevant and fresh performances. its hospitality beneﬁts to the young professionals2010 saw Rufus Wainwright’s ‘Prima Donna’ pre- that are a bull’s eye target audience.mière at the Manchester International Festival and Deloitte, a major partner of the Royal Operathen sell out a short run in London. While other House, encourages its employees to get active-pop stars from Paul McCartney to Elvis Costello ly involved in projects including its own cuttinghave also composed new operatic works. edge contemporary arts festival Deloitte Ignite. More innovative still was Accenture’s spon- ‘We both wanted to do something unex-sorship of ‘Five:15’ at Scottish Opera which add- pected as a way of breaking down stereotypes”ed some ﬂexibility to the classic opera format says Sarah Jane Elmslie from Deloitte about theirthrough performances of ﬁve ﬁfteen-minute op- partnership with the Royal Opera House. ‘We’reeras. This allowed the likes of Ian Rankin to pen a huge potential audience for them and for ourhis ﬁrst libretto - resulting in sell-out audiences to employees it’s a wonderful opportunity to get asee ﬁve new pieces in one evening and ﬁtting well bit closer to the art.’
> CONTENTS Agency > Four Communications’ Rachel Clarke > Opera Rocks, Or It Dies 58 Also aimed at employees, professional de- Of course innovation for its own sake doesn’t > Click text below for linksvelopment workshops are a popular way to learn constitute success: they may be interesting, but Opera Di Peroni > Websiteskills such as leadership or problem solving. Vicky these new approaches must prove themselves BP/Opera House Olympic Museum > WebEltringham of English National Opera says ‘when and demonstrate quality and artistic integrity. BP > Cultural Olympiad TVCa business changes, through restructuring or But perhaps those that do will help to ensure BP > London 2012 TVCmerging for example, there can be a real need to that the faces one sees at the opera - whether BP > London 2012 TVC ‘Making Of’bring people together and reinforce professional on stage, in the pit, or in the audience – will more Royal Opera House > Websiterelationships, and we can help’. closely reﬂect the faces you see on the streets. The Met HD Live > YouTube With sponsorship fees starting at £30,000 SEB Singalong Opera > YouTubeAlternative Audiences > A broader audience can for a tour or £50,000 for a production, isn’t it timealso be reached with touring, but the focus isn’t more of us took our seats? < ENO > Websitealways on youth. For example, Glyndebourne’s Scotttish Opera > Website2011 UK tour of new production Donizetti’s Don Rachel Clarke is Director of Four Sports, Arts & English Touring Opera > WebsitePasquale was sponsored by Associated Newspa- Sponsorship > For more information please con- Opera North > Websitepers and used The Daily Mail to run competitions tact: Four Communications > Websiteand reader offers to attract readers. E - Rachel.Clarke@fourcommunications.com English Touring Opera secured P&G-ownedhairspray brand Wellaﬂex Silvikrin as title sponsorof the Fairy Queen reaching its loyal audience of6,500 retired empty nesters around the UK. ‘The brand team was looking for non-elitistsocial moments,’ says Johnny Langridge, Devel-opment Associate of ETO. ‘And we met their needfor a reliable cultural partner in the regions.’ The brand leveraged the sponsorshipthrough competitions in local media channels andprovides product goody-bags to the audience. Corporate Social Responsibility will remain abig driver too. But it can also be used as a plat-form to open opera up to new audiences. For example, the ENO works with compa-nies’ existing CSR partnerships adding a newelement such as running an opera workshop forKid’s Company on behalf of Morgan Stanley, whileLogica’s ‘Forget Me Not’ concerts with AlzheimerScotland provide small scale Scottish Opera per-formances for sufferers and carers. It doesn’t stop there. Creative innovationsabound in the sector, some as yet unsponsored: The Royal Opera’s 69p game for iPhone, ‘TheShow Must Go On’, sees players become ‘a belea-guered goatee-bearded stage manager. Scottish Opera’s ‘Baby O’ is opera for moth-ers and 6-18 month babies and toddlers and hasbeen a hit at the Manchester International Festivalas well as New Zealand and Abu Dhabi.
Technology Secures Tennis Tradition Wimbledon’s charm and tradition is as much about what you don’t see as what you do. There are no perimeter courtsidebillboards, no logos sprayed on the playingsurface and no big screen brand ads played between games. Even logos on players’ mostly white kits are limited to three square inches. This low visibility sponsor strategy is its unique point of difference, part of what makes it the most prestigious tennis tournament in the world. But how can official suppliers activate their rights to maximise investment? The answer, increasingly, is through technology.
> CONTENTS Sponsors > Wimbledon > Technology Secures Tennis Tradition 60While tennis as a whole allows corporate partners er is the advertising-free BBC merely adds further While tennis as a whole allowsto chase eyeball real estate and encourages spon- to this challenge. corporate partners to chasesor land grabs as much as any sport, Wimbledon The world’s most prestigious tennis tourna- eyeball real estate and encouragesdoes not. It eschews the sponsored t-shirt can- ment may attract unusually high ABC1 spectators sponsor land grabs as much as anyons, branded laser light shows, personal sponsor- and viewers, but how can the sponsors engage sport, Wimbledon does not.funded player intro ﬁlms and corporate fan zones them? In the past the emphasis has been on hos-of the ATP World Tour Finals. The All England pitality. But there are reach limits to this approachClub is a semi-clean venue and partner presence both in terms of numbers and demographic type.is kept subtle. This low key approach to sponsor So how are official partners using their status andactivation is unique. rights to engage? Taking the same logo-led approach to spon- Increasingly they are addressing this chal-sorship as the other major professional tennis lenge through technology.tournaments, including the other three grand While hospitality and sampling remain a ma-slams, would lower Wimbledon’s prestige and jor feature and some suppliers continue down thedamage its brand. In fact, officially Wimbledon clichéd and premium product route (2012 sawdoesn’t even have any sponsors as it classiﬁes all HSBC customers offered a free strawberries andof its partners as ‘suppliers’. cream voucher at its booths and official cham- Each of the 14 suppliers serves a tournament- pagne supplier Lanson handed out leaﬂets offer-speciﬁc purpose and, while Wimbledon is not en- ing £5 discounts), increasingly Wimbledon spon-tirely logo free, each appears only where consum- sors are turning to technology.ers would expect to see them. By leveraging new technologies and using fu- There is the official time keeper Rolex’s name ture facing platforms, Wimbledon’s suppliers canon the scoreboard, technology supplier IBM’s develop engagement initiatives and hold conver-logo on the speed service display, ball provider sations with the tennis fans without forcibly dis-Slazenger also has a presence, drinks supplier rupting their tennis experience or cluttering upRobinson’s adorns the umpire’s chair, while the the traditional TV imagery. They also offer en-Ralph Lauren clothes for umpires, line judges and hanced global reach and more effective engage-ball boys and girls feature the fashion brand’s ment opportunities with younger consumers.logo. Here we showcase some of the more innova- So, whilst Wimbledon is not entirely logo free, tive ways this strategy was applied for Wimble-branding is used sparingly and logically. The dis- don 2012.creet, but relevant, logo links add to the emotionalrelationship with tennis fans and avoids interrupt- SmartCloud, Dynamic Websites & Tracking Tech-ing the experience with logo badging. nologies > Dynamic websites, second screening While this strategy doesn’t seem to deter and companion mobile apps lie at the heart ofpartners – after all, Wimbledon has some of the IBM’s Wimbledon engagement – both for the TVlongest running sponsorships in sport with its Sla- viewer and the live spectator.zenger and Robinson’s relationships dating back Global reach and personalisation were two110 and 78 years respectively and its Rolex and key objectives of IBM’s 2012 Wimbledon servicesIBM deals having been in place since 1978 and and the brand’s activation strategy was not based1990 – it does leave sponsors with a major chal- around its on-court service-speed logo, but a dig-lenge. itally-led business-to-business campaign. Wimbledon’s suppliers receive none of the The approach was to showcase how the ITtraditional ﬁeld of play branding and none of the giant is using its SmartCloud platform to radicallyother usual rights associated with such a tourna- redesign Wimbledon’s website with new featuresment or event. The fact that the home broadcast- such as the Live@Wimbledon broadcasts and the
> CONTENTSSponsors > Wimbledon > Technology Secures Tennis Tradition 61 interactive analytics-enabled SlamTracker service. These IBM technologies provide Part of the brand’s wider marketing push to showcase its All new data that helps players, England Lawn Tennis Club suite of business computing solutions coaches, commentators and fans to the business world, this year saw it launch a new business- alike. to-business marketing campaign. The aim was to raise business brand awareness by encouraging potential customers to engage with the very IBM technology they may purchase and see exactly how it works. Led by a set of digital elements that included seeded online video, social media activity and an integrated media partnership with The Guardian’s tournament coverage on Facebook and Twit- ter, the campaign was supported by more traditional B2B print and outdoor media executions showcasing IBM’s Wimbledon technology partnership and promoting how they can be applied to other business settings. IBM is the tech partner behind the redesigned official Wim- bledon website which aims to provide a more creative and immer- sive experience through intuitive navigation services, powerful imagery, a set of utility functions and enhanced content. The site aims to reﬂect the competition’s heritage and global appeal and was expected to receive 16 million unique visitors and more than half a billion hits during the tournament. One of its stand-out new features is Live@Wimbledon, a broadcast service which blends live action from around the tour- nament by dropping into matches at crucial points in play with the ‘off-court colour of a day at The Championships’. Presented by former players Mats Wilander and Annabel Croft, this ﬁrst year of the service saw Live@Wimbledon video available only in the UK and the Americas (excluding Brazil). The Live@Wimbledon ser- vice replaces its predecessor Radio Wimbledon. In 2012 fellow supplier Hertz used the Live@Wimbledon ser- vice to roll out its own digital activation in the form of a player video diary series. This included player interviews en-route to the tournament, a tactic used by French Open automotive partner Peugeot during its ‘Road to Roland Garros’ series. Another IBM-driven innovative addition is The SlamTracker, which uses real-time analytics technology to create an interactive scorecard available online and via mobile. The idea is to provide fans with deeper insight into matches by blending historical and real time data. Other new IBM-led technology features include ‘Momentum’, which maps a match in real-time visualing key turning points and their causes such as winners,and aces etc, and the ‘Keys to the Match’ feature leverages historical and immediate data to deter- mine the top three things a player must do in order to do well in a speciﬁc match. Another is the 2012 trailing of IBM SecondSight
> CONTENTS Sponsors > Wimbledon > Technology Secures Tennis Tradition 62movement tracking technology. heart of its ﬂagship ‘Ball Hunt’ Wimbledon acti- These technologies were also showcased vation, with an emphasis on reaching out beyondin person at the IBM booth located near Centre the hallowed gates of The All England Club.Court itself. These technologies provide new data This Maria Sharapova fronted tournamentthat helps players, coaches, commentators and ticket giveaway was a digital hunt across Londonfans alike; and add a new dimension to the fans’ for pink tennis balls. Rolled out the weekend be-understanding of the science of tennis. Perhaps fore the championships started, an online Evianthey are even pulling tennis towards the increas- ball boy posted daily clues between 22 June andingly stats-led direction of baseball and cricket. 25 June on Twitter and Facebook. According to an IBM spokesperson, the uses Followers then needed to follow the clues,for businesses are almost inﬁnite: ‘Businesses go to the locations and ‘check in’ before the ballacross multiple industries and geographies can boy left in order to win prizes. Each day the ﬁrstgain insights from large volumes of data and then person to arrive received a Sharapova signed pinkuse that knowledge to choose the best strategies tennis ball, the next 10 got an Evian T-shirt and ev-and better predict outcomes.’ eryone was entered into the VIP ticket draw. For both IBM and the All England Club the Led by a teaser webﬁlm, the ‘Ball Hunt’ wasobjectives are based around improving global backed by print and online ads, promoted tweetsreach, personalising the Wimbledon experience and sponsored stories on Facebook.and connecting to younger audiences. Of course, this digital ball hunt was just one ‘The predictive analytics technology and the element of the wider campaign undertaken toexciting match information available online and bring Evian’s Wimbledon partnership to life. Iton mobile achieves the additional global penetra- also ran a central London outdoor campaign, of-tion for Wimbledon that the organisers want and fered exclusive behind-the-scenes footage onit gets more young people interested in the sport,’ www.wimbledon.com, sold Wimbledon-themedexplains IBM’s Wimbledon client and programme special edition Evian bottles and ran a samplingexecutive Alan Flack. programme for tennis fans travelling via Wimble- ‘Together with IBM, we’ve created a new don and Southﬁelds underground stations.website which features increased options for peo- Inside the Wimbledon grounds, there wasple to personalise their Wimbledon experience,’ both an ‘Evian Café’ and Evian’s Live Young Suitesays All England Club commercial director Mick which hosted celebrities and press who enjoyedDesmond. ‘Visitors can follow the progress of games like table tennis and a retro tennis themedtheir favourite players, view live match play clips photo corner designed to bring out the inner childof the day’s action, and access scores and results in everyone.delivered in real-time. We expect this increasinglyengaging and personalised online experience to Facebook & Webﬁlm > With activation opportu-appeal to fans in ever-greater numbers.’ nities within the conﬁnes of the All England Club These new 2012 technology tools follow IBM’s extremely limited, the free-from-restriction statusother recent technology innovation at the tourna- of social media channels provides a more ﬂexiblement, including its impressive IBM Seer mobile platform for sponsors to leverage their Wimble-app – a branded official tournament mobile app don supplier status.that not only offered utilities and entertainment Slazenger, for example, rolled out a game viaelement, but even enabled fans to look through a Facebook app that encouraged users to play awalls to see the live tennis action beyond them. form of ‘keepy uppy’ with scores shareable across the social media site.Real Time Social Media > Official water supplier Official wine supplier Jacob’s Creek alsoEvian also placed real time technologies at the leveraged its Wimbledon association through
> CONTENTSSponsors > Wimbledon > Technology Secures Tennis Tradition 63 its Facebook page with an Andre Agassi ‘The ers and bunting for shops carrying the Wimble- Open Film Series’. don limited-edition range were created, tasting At the heart of the work is a series of inti- events and competitions for retailer magazines mate series of short ﬁlms from Agassi. Each web and websites. ﬁlm ﬁlms tells a personal story about Agassi’s Official timekeeper Rolex also used a series life and experiences and aims to bring to life the of web ﬁlms, called ‘Rolex Rendezvouse’, which brand’s ‘True Character’ marketing platform. were hosted on its own global YouTube Channel. The initiative also included a digital list The online ﬁlm series relived classic Wimbledon building element incentivised by offering those moments and featured long-term ambassador who provided their contact details (and per- (and men’s single winner) Roger Federer. haps also signed up to the brand’s digital news- letters) were entered in to a competition to win Outdoor Experience > Of course, a less tech- one of ﬁve VIP Wimbledon Experiences and the nically sophisticated method of keeping The chance to meet Agassi himself. All England Club clean of branding and yet still The Jacob’s Creek/Agassi partnership was providing classic outdoor experiential opportu- an integrated above- and below-the-line mar- nities and logo homes for sponsors is to create keting campaign that includes digital and PR an alternative physical space for sponsors to ac- elements aiming to increase brand awareness in tivate outside the walls of Wimbledon. and around tennis. In 2012 this is exactly what the All England The campaign, which dovetails neatly with Club did with the expanded Wimbledon Village. the brand’s umbrella ‘Open Up’ big idea, marks In partnership with agency Space, a tem- the second year of Jacob’s Creek’s pouring porary Wimbledon Village was built on the rights partnership with the All England Club golf course next to where consumers famously as the Official Wine of Wimbledon and builds queue for hours for tickets. This space was not on Jacob’s Creek’s association with tennis and only designed to amuse and interest fans whilst is an extension of its ‘Open Up’ activation ﬁrst they patently wait in the famous Wimbledon launched at the Australian Open. ticket queues, but also to provide a further op- Another tech-led element of the brand’s portunity for partners to showcase their prod- Wimbledon campaign taking place outside the ucts and services free from the traditional Wim- All England Club itself was a tennis-themed ac- bledon restrictions. tivation at London Heathrow’s Terminal Five. Here Evian hosted a heavily branded ‘Live Throughout June, the wine brand set up its own Young Experience’ including a pink shipping Centre Court in T5 to transport travelers to the container containing table tennis tables, photo sporting venue. The ambient experience in- opportunities and competitions and strawberry cludes big screens, an in-store theatre complete and cream milkshakes. Other sponsors includ- with grass, a net, fridges and an umpire chair. ing HSBC and Robinsons developed similar ex- Customers are offered complimentary straw- periences in The Village berries and can sample Jacob’s Creek wines, So new technology isn’t the only solution while a competition will invite participants to for Wimbledon suppliers looking to Activative guess the number of tennis balls in a giant Ja- their status. But for those looking to use their cob’s Creek bottle for a chance to win a VIP Wimbledon credentials to reach global, youth- package for two to the Men’s Final. ful audiences beyond the classic AB1s who ﬂock Other Jacob’s Creek Wimbledon work in- to the tournament gates every year, then future cluded on- and off-trade activations, Wimble- facing channels surely offer the best route to don neck collars on two million Jacob’s Creek engagement and generation conversation. bottles (including a QR code competition), post-
> CONTENTS Sponsors > Wimbledon > Technology Secures Tennis Tradition 64More Youthful, More Accessible > Technology, in > Click text below linksfact, may provide a solution to some of the gen- IBM SmartCloud > YouTubeeral contemporary tennis challenges beyond the Wimbledon > Websiteworld of Wimbledon and the other Grand Slams. IBM > Website Despite the record viewing ﬁgures for the Evian Sharapova Webfi lm > YouTube2012 Wimbledon ﬁnal, which saw the presence of Evian > Facebooka British player in the ﬁnal attract a 58% share of Evian > Websitethe total UK viewing audience which peaked at Jacob’s Creek Agassi Webfi lm > YouTube16.9 million (the highest viewing ﬁgure since 1990 Jacob’s Creek > Facebook- which is as far back as accurate stats are avail-able) and the staggering 116m Chinese viewers Jacob’s Creek > Websitewho tuned in to watch Li Na’s French Open winlast year, tennis is in a state of ﬂux. Research released at Eurosport’s 2011 Maydebate in Paris on the game’s future shows theglobal free-to-air TV tennis audience declinedby 30%, that 72% view it as not being innovative,30% believe matches have become long and bor-ing and that 65% of tennis’ fan base are 50 or over. In April 2012 Sport England cut its fundingof tennis after a Lawn Tennis Association surveyfound the number of adults playing the sportsince 2008 dropped around 25%. Following that LTA research, publicist MaxClifford – previously an LTA grass roots advisor –suggested the organisation ask tennis fan SimonCowell to create a ‘Britain’s Got Tennis Talent’show to help the game reconnect with youngeraudiences. Traditionally considered exclusive, inacces-sible, middle-class, polite and played in white,rights holders and sponsors are striving to makeit more accessible, colourful, dynamic, inclusive,vibrant and youthful. Governing bodies, rights holders, sponsors,players and their own personal equipment pro-viders and partners are all exploring opportuni-ties for change. Like Wimbledon’s suppliers, theactivation solution being applied by so many ofthem is digital media, social platforms and newtechnologies to try and broaden the reach anddevelop deeper engagements with younger audi-ences. <
Data & Statistics: Mainstream Tennis? With record UK TV figures for Wimbledon 2012 - which peaked at 17m with a 58%share – is it time for a wider range of brands to consider tennis sponsorship? In the past tennis has been fertile terrain for the traditionally heavy users of sponsorshiplike sports clothing and equipment brands, banks and car makers. But will the efforts being made to boost the appeal of the sport to a younger, more urban and more mainstream audiences see new brands joining established, long term sponsors? William Fenton, Editor of The World Sponsorship looks at the data.
> CONTENTS Co-Publisher > Data & Statistics > The World Sponsorship Monitor > Tennis 66Will we see an increase in the number of tennis spon- tennis sponsorship deals signed with teams (such as sis in terms of the activation accent from these tradi-sors from beyond the sports clothing and specialist Davis Cup, Fed Cup or Olympic teams). tional tennis sponsors. For instance, just as we haveequipment space? Are we set to see more urban, ev- Player endorsement has been the biggest sub- seen in soccer sponsorship in recent times, many oferyday, streetwear brands aimed at a younger demo- sector of the space in the last few years. Led by the these brands are starting to align their tennis sponsor-graphic groups and a more mainstream market enter two sponsorship superstars of the sport - Roger Fe- ships with their CSR and grassroots marketing pro-the tennis category in the next year or two? derer and Maria Sharapova. Both of whom have en- grammes. Novak Djokovic’s decision earlier this year to re- dorsement deals with Nike. RBS, for example, is a long term sponsor of Andyplace specialist tennis sponsor Sergio Tacchini with Federer still commands the most impressive en- Murray (in fact, the bank has backed Murray since hethe more mainstream Uniqlo may be a sign of things dorsement portfolio in tennis and boasts at least 10 was just 14), but with the social utility of the ﬁnancialto come. major personal deals including those with Nike, Credit services sector under increasing scrutiny, banks like Djokovic originally signed with traditional tennis Suisse, Mercedes, Rolex and Wilson (these brands, in- RBS are increasing the emphasis of grassroots initia-brand Sergio Tacchini in late 2009 after ending his link cidentally, represent the ﬁve leading industries signing tives within their sponsorship.with sports goods powerhouse adidas (who immedi- tennis sponsorship deals - Sports Clothining, Banking, For example, the second half of last year sawately signed up Andy Murray on a long term deal) and Automotive, Watches and Sports Equipment). RBS link with Murray and his mother Judy to launchhis initial match wear range in the collaboration was Federer was the only one of Gillette’s original Set4Sport – a brand-backed local community edu-seen in late May at Roland-Garros’ French Open. “Three Champions” to have his deal renewed in 2011 as cational programme created by GB Fed Cup captain Sergio Tacchini clothes may have been worn by the brand dropped Tiger Woods and Thierry Henry. Judy to highlight simple and accessible ways for par-great tennis champions from the past, most notably Collectively, according to Forbes and TheRichest. ents to play with their children whilst helping themJohn McEnroe, Pete Sampras, Gabriela Sabatini and org, he earns more than $30 million annually from en- develop the skills.Martina Hingis, but when Djokovic ended his deal with dorsements In terms of the events themselves, it is Wimble-the northern Italian-based brand this year the reason Sharapova remains the top-earning female ath- don and The US Open that dominate the tennis cal-his team gave was that he had ‘outgrown’ the brand. lete in the world according to Forbes. her traditional- endar, with ﬂagship deals such as those signed by The move shows how the top tennis stars are sponsorship and brand partnership portfolio extends Mercedes and Citizen which are believed to be worthbreaking out from the conﬁnes of specialist tennis beyond tennis and includes modelling (including around $3.5m per year. <equipment manufacturers and are proving valuable to Sports Illustrated Swimsuit Issue) and fashion dealsmore general fashion brands and streetwear. (she is the face of Cole Haan). William Fenton is Editor of The World Sponsorship After signing the ﬁve-year deal Djokovic said Her ambassador, advertising and equipment con- Monitor: data is suppied by TWSM produced by Re-‘Uniqlo is not fast fashion, and it’s not sportswear. It tracts include deals with brands such as Canon, Evian, pucomis the ultimate functional wear, which is exactly what Nike and Prince. She renewed her Nike deal, worthI need as both a sports person and an individual who $70 million, at the start of 2010 and she receives roy- About Us > For more information please visit the Theleads a very active life’. alties on her own line of apparel and shoes. World Sponsorship Monitor website or email: One particularly interesting aspect of tennis com- Traditionally, after clothing, it is banks, cars and E - email@example.com to other sports is the attention and focus on watches that lead the way in terms of industry’s in-the individual players rather than on teams or even or- vesting in tennis sponsorship.ganising bodies. The individual rather than team sport These industry sectors look set to continue tobias in the game explains the high proﬁle of ‘personal- lead the way in the near future. One high proﬁle recentity’ endorsement deals for products such as watches deal (which looks likley to have paid dividends withand bottled water. his strong showing at Wimbledon), was the entry of Looking at all sports sponsorship worldwide, the Swiss watch business rado into the tennis space withaverage proportion of ‘personality’ sponsorship is just its backing of Andy Murray . Murray signed up with13%, but in tennis the ﬁgure is more than two times Rado in the immediate run up to the tournament.that average at 30%. The luxury company is reported to have been at- Similarly, while the biggest portion of deals across tracted to tennis by its status as a premium sport, butthe entire sports sponsorship industry are team spon- one with an increasingly wide range of demographicssorship deals (41%), the low proﬁle of and infrequent amongst the fan base.number of team events in tennis sees only 23% of all But are we seeing signs of a change in empha-
> CONTENTS Co-Publisher > Data & Statistics > The World Sponsorship Monitor > Tennis 67 > Click text below for linksDeal Type Tennis Industry By Deals Deal Type All Sport Website > www. theworldsponsorshipmonitor.com Website > www.repucom.net 52 > Clothing62%Event Sponsor (% of all 2011 tennis deals) Sports (No. of reported tennis deals 2001 - 2011) 41% Team Sponsor (% of all 2011 sports deals) 44 > Banking Finance (No. of reported tennis deals 2001 - 2011) 27 > Automotive30% Cars (No. of reported tennis deals 2001 - 2011) 25 > Watches 37%Personality Sponsor (% of all 2011 tennis deals) Event Sponsor (% of all 2011 sports deals) Timing (No. of reported tennis deals 2001 - 2011) 24 > Equipment Sports (No. of reported tennis deals 2001 - 2011)6% 18 > Airlines 13% Travel (No. of reported tennis deals 2001 - 2011)Organisation Sponsor (% of all 2011 tennis deals) Personality Sponsor (% of all 2011 sports deals) 18 > Insurance Finance (No. of reported tennis deals 2001 - 2011) 18 > Telecoms2% Mobile/fi xed (No of reported tennis deals 2001 - 2011) 9%Team Sponsor (% of all 2011 tennis deals) 14 > Drinks Organisation Sponsor (% of all 2011 sports deals) Mineral Water (No. of reported tennis deals 2001 - 2011)
> CONTENTSCo-Publisher > Data & Statistics > The World Sponsorship Monitor > Tennis 68 Think! Sponsorship presents Forward Thinking Sponsorship in a post-Olympic Games landscape One day sponsorship conference 14th November 2012 Stratford Circus, London Early Bird Tickets on sale now from £225 + VAT. www.thinksponsorship.com in partnership with
Education & Training: Change & Adapt, Or Else As course director, Peter Raymond has spent much of the last year preparing and nurturing the sponsorship industry’s firstever academic qualification – the EuropeanSponsorship Association Diploma. Created to provide a ‘rite of passage’ for those that see sponsorship as a career path, it’s designed to bring sponsorship alive in allits guises and to provide candidates with aconsiderable competitive advantage. It also has an aim of providing the industry witha better prepared and informed workforce to secure the future. Here he shares his industry learnings from year one.
> CONTENTS Co-Publisher > Education & Training > ESA Diploma > Change & Adapt, Or Else 70I wish I had the knowledge that the learning of this firmly in their hand to win the war. 2. Engagement - Targeting has never been more ‘There is little doubt wecourse offers when I started out……perhaps I wouldn’t Whatever the outcome, in a range of business important or more possible. While exposure from are about to enter an era ofbe here writing this article…….. sectors, we are faced with the imminent arrival of on-site branding in view of TV cameras still has im- ‘enlightened sponsorship’, But I’m glad I am, because the last year has been 2013 (just doesn’t have the same ring as 2012 does portance, the new marketing environment requires a time when brand ownersa journey of discovery not just for me, but also for the it?!) and beyond with no Olympics to prop up what sponsorship to provide many more opportunities to and rights holders are goingstudents. I’ve dug deep into why and how sponsor- might well prove to be an ailing industry. stimulate consumer engagement. The advent of new to have to be smarter andship works, I’ve examined its relationship and dynam- This is not a valedictory note for sponsorship; in technologies has provided practitioners with oppor- concentrate their spending onics within the whole marketing mix and I’ve trawled fact, the same sentiments apply to many of our mar- tunities to create far greater personalisation of expe- targeting and more effectivethrough hundreds of case studies exemplifying ‘best keting brothers and sisters, though arguably their de- riences and to target much more niche audiences consumer engagement.’practice’. pendency on the Olympics has been less than ours. It’s enabled me to take a kaleidoscope view of Sponsorship probably holds the most exposure. 3. Responsibility & Socialisation - CSR is not aevery aspect of the contemporary sponsorship land- So what do we need to do to defend our position whim, neither is social marketing; they are an integralscape. By applying my ‘old school’ experience with and man our barricades? part of the way forward for society and for marketing,the dramatically changing modern marketing envi- There is little doubt that we are about to enter an so accept it and adapt. They rather crept up on usronment a number of things have gelled and become era of ‘enlightened sponsorship’, a time when brand and may yet re-invent their mode of delivery, but thescreamingly apparent. More than ever sponsorship owners and rights holders are going to have to be new forms of contemporary marketing are now vitalis at a crossroads – change and adapt or face a very smarter and concentrate their spending on targeting components in any coherent sponsorship strategy.uncertain future. and more effective consumer engagement. Understanding how to integrate them effectively into Several factors are driving this precariousness. It is crunch time for property owners who now any campaign to direct messages more accurately isThe fast-growing, thrusting, evolving, upwardly mo- have to form much more symbiotic relationships with now an imperativebile industry that we have embraced for the last three sponsors who require them to firmly embed targetdecades is faced with the spectre of a very serious consumers into the experience that they are offering. 4. The Accreditation - In an environment whereworldwide recession for the first time. It is crunch time for sponsors who need to use budgets are being slashed and the very existence Suddenly marketing dollars are under the most their partnerships to build much deeper relationships of some events threatened, an onus is falling on theintense scrutiny; there has never been so much pres- with consumers by warmly embracing the multiplic- media for some payback…..after all, we’re all in thissure to justify every pound, cent, pesos or kopek of ity of opportunities provided by the social marketing together. There may be fear of the recession in sport;spend as there is now…..‘If it ain’t working, then you revolution. in the arts it’s paranoia. A large proportion of artscan’t spend it’. The time when evaluation was a mere Last, but by no means least, it is also crunch time spend is not perceived as a ‘luxury’, but some of it is,inconvenience is over……big time. for media providers who for years have been sparing and it’s increasingly under scrutiny. In addition, for those of us ploughing our trade in in their accreditation and acknowledgment of the role The time may have come, finally, for some formsthe UK, we are on the verge of the largest ever domes- sponsorship plays in enriching the sporting and artis- of the media to look inwardly and decide to encour-tic sporting bean feast that we will ever experience. tic fabric of our society. age the investment that its coverage (or non-cover-The enormity of the opportunity for commercial acti- age) can influence.vation within the domestic market has dominated our Five Year Manifesto > So, a five year manifesto for the In 2011 The Times led the way by announcing athinking, planning and implementation for six years. sponsorship industry should include the following: relaxation in its rules on accreditation for sponsors of Clearly, the numbers of brands active within the the arts. This needs to be replicated by many otherOlympic space are relatively small (in fact, tiny) but 1. The Accountability - Expect smaller budgets outlets in order to counter-balance economic adver-the scale of the expenditure is disproportionately, but and prepare to justify all spend. This will precipitate sity and give sponsors more reward for their pioneer-significantly, enormous……and never to be duplicated. the need for far greater accountability; hence spon- ing spirit and the financial contribution that manyIn three weeks time (from writing) the Games will sorship professionals need far greater knowledge on events are totally reliant uponbegin, in ten weeks time (from writing) they will be the subject and to give it greater priority.gone…..never to return. It will become mandatory to have robust evalu- 5. Creativity - As sponsorship reaches matu- The hype, the share of voice, the blur, the connec- ation models which effectively measure not only tra- rity standing out from the crowd is more importanttion will have been and gone; hopefully with massive ditional parameters, but also the specific effects of than ever. It is no longer enough to do the basicsresidual benefit, of course. But it may be left to those digital and social marketing well, sponsorship now has to provide edge and cutclever enough to have kept the long-term legacy card through. That edge can be provided by creativity;
> CONTENTS Co-Publisher > Education & Training > ESA Diploma > Change & Adapt, Or Else 71not just through clever activation but also via imagi- grammes. > Click text below for activation linksnative selection of partnerships. For more information please visit the ESA web- Website > http://www.sponsorship.org The new strands of marketing are opening up site or contact Peter Raymond at:whole new areas in which sponsorship can now pros- T - +44 (0)20 8390 3311per; it is also offering new environments in which E - firstname.lastname@example.org messages can be channelled to reach E - email@example.com targeted audiences. There is no doubt that cre-ativity is the mother of engagement. Far from being the last rites, this sets out a man-date for a more demanding and challenging, yet noless exciting, future. Though, on the basis that a sponsorship will onlybe renewed if it performs, it is now incumbent on theindustry to shape up and demand more from its prac-titioners across the board. The lines between many forms of marketingmight be blurring, but for sponsorship to maintain aposition ahead of the curve as a ‘lead’ and influen-tial discipline, it needs to become more accountable,more engaging, more responsible, more famous andmore creative. The ESA Diploma has set an agenda by acknowl-edging the importance of imparting knowledge andinvesting in the future. The skills being transferredmore effectively to a new generation will be vital intackling the issues ahead from a more informed per-spective. I have enormous confidence in the future andlook forward, at least in the knowledge that there isan intake of students who have got this message veryloud and clear. On reflection, the future is bright afterall. <Peter Raymond is Course Director of the ESA Di-plomaAbout Us > Anyone who is serious about a future inthe sponsorship industry, or who just wants to bebetter informed, needs to do this course. Peter was Head of Sponsorship at Orange foreight years (1995-2003) and developed Orange’spopular arts based sponsorship portfolio includingbeing responsible for creating Orange Wednesdays. He has been a director of two promotional mar-keting agencies and worked on many major andaward winning sports and arts sponsorship pro-
> CONTENTSCo-Publisher > Education & Training > ESA Diploma > Change & Adapt, Or Else 72 ‘THE INDUSTRY TRAINING THE INDUSTRY’
Law & Legislation: Financial Fair Play In a recent report on the governance and ethics of sport, the Council of Europe expressed concern at the excesses and abuse of finances in professional sport, which, in its view, is impeding a levelplaying field and threatening the financial stability of sport, not least in football. Its recommendations included the adoption of ‘financial fair play’ rules bysports regulators, in a similar fashion to therules recently adopted by UEFA requiring clubs to be (more or less) self-financing. Charles Russell’s Jon Walters assesses the report’s possible impact.
> CONTENTS Co-Publisher > Law & Legislation > Charles Russell > Financial Fair Play 74From a fan and media perspective, measures of this From our recent experience, online, mobile and joint ventures and entities where there is commontype are broadly welcomed. digital platforms have been the subject of exciting control or inﬂuence. Glasgow Rangers and Portsmouth are but two and innovative partnerships, with the space particu- It is, however, invariably in this latter category –examples from many, which illustrate the desirability larly attractive to gaming brands as a means of driving common control or inﬂuence – that suspect partner-of regulating clubs’ economic behaviour. traffic. ships will fall and, whatever anecdotal evidence may Popular distaste at clubs buying their way to suc- In the case of naming deals, the reaction to the exist, it is challenging to demonstrate the exertioncess is an ever-present sentiment supporting such renaming of St James’ Park as the Sports Direct of control or inﬂuence if parties have been careful tomotions. Arena illustrates the sensitivity to clubs’ heritages avoid shareholdings, common management or officer and the potential negative impact on brands from appointments or contractual arrangements.Commercial Rights Impact > Often over-looked in an unpopular association. The continued search for a The puppeteer in the background pulling stringsthe debate is the impact that ﬁnancial fair play rules permanent naming sponsor for Newcastle’s stadium will often escape.will, and already have had, on the market for commer- also suggests that commercial partners are either notcial rights in sport. For the 2013-14 and 2015-15 sea- convinced by the valuation of the naming right or the Lessons For Other Sports> What lessons can besons, clubs competing in European competition will brand value that it will deliver. learned from other sports?face a ‘break-even’ requirement of making losses of Newcastle’s difficulties apart, general market Interference in the ﬁnancial affairs of sports par-no more than €45 million, ratcheting down to €30 mil- trends would however suggest that, at the highest ticipants by regulators is relatively rare in the Europe-lion by 2015-16. level at least, rights holders are extracting sizeable an market. The EU will intervene where there is a di- Generous margins it might seem, but worrying sponsorship fees from their partners. rect economic impact on the market and fundamentalwhen compared against many clubs’ latest published European law principles, for example in the footballﬁnancial results: Manchester City: £197 million loss; Manchester City & Eitihad > The most spoken about transfer market and its effect on free movement ofChelsea: £67.7 million loss; AC Milan: £69.8 million loss. recent deal is the estimated £400 million partnership labour (Bosman). Clubs then have been faced with an urgent choice between Manchester City and Etihad. If this sets the However, sporting regulators have generally al-– cut spending or increase revenues (or both). benchmark for the value of commercial rights deals, lowed market forces to prevail, in contrast to the With broadcasting income ﬁxed by leagues and clubs will be rubbing their hands. American franchise model. In rugby (both union anddependent upon competitive success, and match day It is the risk of partnerships, such as that between league), salary caps have been introduced by Premierreceipts constrained by stadia sizes, the opportunity Manchester City and Etihad and also Paris St German Rugby and the Super League, and in Formula One thefor clubs to grow revenue in the short term is primarily and Qatar National Bank, distorting the sponsorship teams’ association has agreed a resource restrictionin expanding commercial rights income. market that demands a strong legal and regulatory agreement capping team expenditure, which also Merchandise remains a vital cog in this income framework. uses the ‘related party’ mechanism to weed out cir-stream – it is interesting to note the continued push to The Council of Europe has described the Man- cumvention.Far East markets, illustrated by the high proﬁle friend- chester City deal as an ‘improper transaction’, high- Non-ﬁnancial regulations, such as those intro-ly announced between Arsenal and Manchester City lighting the ownership of Etihad by the Abu Dhabi duced to tackle the role of agents in football by Thein Beijing on the opening day of the Olympics. But this royal family, and the ownership of the club by Abu FA, are more commonplace and demonstrate the im-goes hand in hand with greater sponsor engagement Dhabi United Group, a private equity fund owned by portance of the need for effective investigatory pow-and, perhaps, a greater squeeze on sponsors for in- Sheikh Mansour of the Abu Dhabi royal family. ers and sanctions if ﬁnancial fair play rules are to workvestment to eliminate deﬁcits. UEFA’s ﬁnancial fair play rules seek to tackle in- effectively. On the one hand, the expected growth in the sup- ﬂated sponsorship packages from parties relatedply of sponsorship opportunities for sponsors should to club owners. They do not prohibit ‘related party’ Fair & Objective > The optimum position would be fordrive down their cost. This is simple supply and de- transactions, but require clubs to adjust income re- regulators to be able to attribute a value to suspectmand economics. Certainly, we are witnessing diver- ceived from them to reﬂect a fair market value. partnerships. By doing so, the difficulties of proving asiﬁcation in the ‘menus’ of rights offered by rights The difficulty lies in regulators establishing suffi- ‘related party’ relationship are circumvented and a fairholders, with the growth of partnerships in the digi- cient documentary evidence of the fact that a spon- market value can be given to the deal.tal media space continuing unabated and a growing, sor is in fact a ‘related party’. The list of entities which An objective and independent measure of thebut by no means, universal acceptance by fans and are ‘related parties’ is very wide, drawing on the deﬁ- value of rights could assist sponsors in their negotia-clubs alike of the commercial sense of stadium nam- nition given under International Accounting Standard tions and resist market inﬂation, but would be fantas-ing deals. 24, and captures group companies, family members, tically difficult to establish. It would also be open to
> CONTENTS Co-Publisher > Law & Legislation > Charles Russell > Financial Fair Play 75legal challenge on the grounds that presuming the > Click text below for activation linkspaid-for value of rights is inﬂated and attributing a Website > www.charlesrussell.co.uklower value could be seen to be contrary to the prin- Website > www.cr-law.co.ukciples of natural justice. Address > 5 Fleet Place London EC4M If the issues associated with introducing ﬁnancial 7RDfair play rules illustrate anything, it is that their interac-tion with a fast-moving and diverse sponsorship mar-ket is both problematic and uncertain. Compliance with the rules is, to a large part, driv-en by the amount of commercial income which clubscan generate. Where clubs do not have wealthy bene-factors or related parties to provide this income, theunintended consequence of this type of rule may beto ﬂood the market with new packages of rights andto encourage rights holders to squeeze sponsors forhigher fees. It remains to be seen how this will play out – butwith clubs already exploiting all avenues of commer-cial income (anyone for a Chelsea FC official razor?),the smart money must be on the squeeze. <Jon Walters is a Senior Associate in the Sports LawTeam at Charles Russell LLPAbout Us > For more information please visit ourwebsite or contact Jon Walters at: T - +44 (0)20 7203 5170 E - firstname.lastname@example.org
> CONTENTSCo-Publisher > Law & Legislation > Charles Russell > UEFA Financial Fair Play 76
Recruitment & Search: Post-Olympic Landscape The Olympic Games is a once in a lifetime job opportunity, so it’s not surprising thatso many highly-skilled sports professionals jumped at the chance to work on London2012. But as the Games begin, how many ofthem have planned for their post-Olympic future? After the exciting highs of Games delivery in the summer, what does the Autumn look like for the flood of LOCOG, sponsor and agency employees all hitting the job market at the same time? WillLloyd, CEO GlobalSportsJobs, analyses the challenges and opportunities in the post- Olympic job market.
> CONTENTS Co-Publisher > Recruitment & Search > GlobalSportsJobs > Post Olympics 78To put this ‘ﬂood of CVs’ in perspective, Games organ- be snapped up. There will be those who will struggle. agency to agency as to which sub-sectors will see the ‘While the IOC employs aising committees typically grow from zero employees Also, the effect isn’t just limited to LOCOG and new reality as an opportunity or a problem. few hundred people on ato hundreds of thousands and back to zero again in a its employees. There are other factors to consider Those agencies with a lot of Olympic work will permanent basis, duringshort seven year cycle. While the IOC employs a few as other cycles will be coming to an end around the certainly ﬁnd it tough, unless they can leverage their the Olympic Games andhundred people on a permanent basis, during the same time and existing deals will be reviewed. skills and staff into more work from other major Paralympics delivery moreOlympic Games and Paralympics delivery more than The end of the Games coincides with the end of events both in the UK and overseas. than 200,000 people will be200,000 people will be working for LOCOG. the government’s current sports investment cycle – working for LOCOG.’ It is important to remember that around 70,000 which works primarily through Sport England and UK Advice For Jobseekers > I read recently that 73% ofof those are volunteers, and also that a number of Sport. The government may decide to invest less tax- all men in the UK consume sport on a regular basisthose at LOCOG are on secondment from other em- payer money in sport during the next cycle than it did and perhaps that is why quite that so many peopleployers (often Games partners and sponsors and in the run up to the London Games. want to be part of The Olympics. After all, many see itpartners who provide staff as part of their deals). So This will create an investment gap and further as the pinnacle of world sport.some wont be looking for jobs at all, while others will tighten the job market in the UK Sports Industry. But so many of them jumped in with both feetalready have jobs to return to (although the economic There will also be a lot of reviews and assess- with little thought of what might come after theclimate may mean it is difficult for those on second- ments going on as to how sports-related investments Games. If is those who let their heart and passion rulement to be re-embedded in the former companies). have performed for sponsors during the Olympic cy- their head and career security because they wanted Of course, there are 24 different functions within cle and whether they should continue, change or end. to be part of the Olympics that I fear for the most.LOCOG so it’s not only the sports business jobs mar- For instance, once London 2012 is over we could While working on the Olympics can be a goodket that will be affected. Nevertheless, in the post see some brands could jump ship out of sports spon- talking point for candidates and makes for interest-Games period the UK sports labour market will be sorship and association into other areas? They may ing interview discussions, it is important to rememberoverrun with people looking for jobs? feel that they have maximised their value with a that come the autumn a lot of people looking for jobs There will be an unprecedented level of competi- sports association, or that it was the Olympics alone will have the Olympics as a recruitment talking point.tion and this poses huge employment challenges and that meant that previous investment had made sense. Furthermore, there are a lot of people with expe-opportunities both for employers and employees. There will be some private sector investors and rience of major global sporting events such as FIFA’s sponsors who created a strategy speciﬁcally built World Cup and the Rugby World Cup and the like –Olympic, Sponsor & State Funding Cycles > To some around the Olympics and who will now pull their in- not just the Olympics – that they can put on their CV.extent the UK sports market has been cushioned from vestment and spend it in a different direction. For those leaving the Olympic project and look-the economy gloom because of the Olympics. But on It’s also worth considering that some of those in- ing for a new role, I would advise them to focus onthe positive side it is not the Olympics alone that has vesting in the Olympics did so during a different eco- their speciﬁc skill sets (ﬁnance, logistics, operationsbeen boosting the sector in this country. There are nomic climate and reality will strike after the Games. etc) and analyse how these are transferrable into theother success stories too such as the Premier League Banks which are now government owned may now jobs market.and Formula 1 for instance. reconsider the focus of their sponsorship and the Don’t just follow your personal passions and en- Also, the UK market is beneﬁtting from an un- purpose of their sports investment. tertainment interests, but spread your net wider. In-precedented run of major events during this current On the positive side, there will be other compa- ternational reach, skills and languages will be impor-decade and this could help ensure the post Olympic nies who developed relationships with sport for the tant. If you haven’t already got them, start learninglanding is softer rather than harder. ﬁrst time because of the Olympics, have found that it them – particularly Portuguese and Russian! After all, we have the Rugby League World Cup offers excellent value and generate great opportuni- Also building contacts and understanding whichin 2013, the Commonwealth Games in Glasgow in ties and will thus continue to invest in the space. of your skills are transferrable – particularly the Mid-2014, the Rugby World Cup in 2015, the World Athlet- Also, as is typical with many of these types of cy- dle East and elsewhere in Europe - will be key.ics Championship in 2017 and looking farther forward cles, there will be senior people in sports bodies andthe Cricket World Cup in 2019. sponsorship teams who will feel that the 2012 Olym- Olympic Bandwagon & Global Sports Events > The Nevertheless, post Games there will be some- pics is the pinnacle of their achievement in this space ongoing global Olympic jobs bandwagon that movesthing of a reality check and we will see the real state and will look to move on, change career or retire. And from Games to Games is fairly sizeable now. Thereof the underlying marketplace. this will free up roles for those beneath them. are certainly opportunities for those looking for new There will be a ﬂood of new talent available, but It won’t all be negative. positions to ﬁnd roles on future Games and to movethe economic climate means that not everyone will So it will depend from company to company and from one to the next.
> CONTENTS Co-Publisher > Recruitment & Search > Global Sports Jobs > Post Olympics 79 However, it can be a life that lacks something in details, but I understand there are trying hard to man- Not to mention the number of employees who have > Click text below for linksterms of stability as joining this bandwagon means age the post games employment issue with a proper tickets or are going to sit at their desks watching the Website: www.globalsportsjobs.coms constant global movement which makes it hard to framework and full support. sporting action live through their computers, tablets Twitter > http://twitter.com/gsportsjobsput down roots and build long term life plans. So it The fact that the rights owner is undertaking and mobiles. LinkedIn > http://www.linkedin.com/tends to suit certain type of personalities and speciﬁc such a programme is a great step forward. As far as we at Global Sports Jobs are concerned, groups/Global-Sports-Jobs-3199442demographics best: particularly younger profession- we will be incredibly busy through the Games. We Facebook > http://www.facebook.als in the late 20s and 30s who have the appetite, en- Long Term Skills Legacy > In the long term I think on are using London 2012 as a platform to meet with as com/globalsportsjobsergy and ﬂexibility. balance it is more likely that there will be a beneﬁcial many in inﬂuential people in the sports industry and In terms of those LOCOG employees looking to Olympic legacy that is positive for the UK sports in- in sports business employment as possible to discusstransfer from London 2012 to another Olympic proj- dustry and for jobs too. I think it is more likely there the virtues of using technecnolgy as a talent acquisi-ect there are a clear and simple set of options. Next will be something of a lasting skills legacy, rather than tion and branding tool.up are Russia’s Winter Olympics in Sochi in 2014, the a simple one-off blip that is never repeated. Our focus for the Games period is to consolidatesecond Youth Olympic Games in 2014 in Nanjing (Chi- I’d like to think that there is a genuinely export- existing relationships and build new ones. We won’tna) and then Brazil’s Rio Olympics in 2016. able skill set acquired by an Olympic host nation in be at our office desks, but we will out and about for Many of the roles will be staffed up already, but general and London in particular: skills that are rele- the whole three weeks.there will be vacancies and opportunities. There will vant on the international sports market and skills that And when the Games are over, yes, we hope ourbe geographic and event-related dispersement ac- can transfer to the music and entrainment industries website gets overloaded with new job applicants. Wecording to the stages of the cycle other major events and the like. are currently growing at 45% month on month, andare in. Qatar for example is seven years out and still Sydney 2000 turned its experience and talent hope to boost this further this Autumn with a postin the planning stage and will be moving on to focus into an exportable commodity after its Games and Games new candidate ﬂood!on construction. Whereas Brazil 2014 is at a more there’s no reason London can’t do the same. In factadvanced stage and will be looking for games ready there are reasons why London might do it better. Will Lloyd is CEO Of GlobalSportsJobsoperational skills. If, of course, the London Olympics are a success. However, the operational environment will be About Us > GlobalSportsJobs is an international on-very different here – both in terms of language and The Employer Perspective > Lots of fresh new tal- line job and careers platform, providing access toculture. That goes for Brazil’s FIFA World Cup 2014 ent coming in to the marketplace is a bonus for those jobs, career advice and networking for professionalsand Russia’s FIFA World Cup in 2018 too. employers currently growing and looking to recruit. working in the sports sector. Perhaps Glasgow’s Commonwealth Games in I’m not sure how many employers with roles to Through the growth of its unique affiliate net-2014 and England’s Rugby World Cup in 2015 are a ﬁll are holding off on recruitment because they know work, which provides job board technology to overbetter ﬁt and more realistic targets for many. that a large number of skilled candidates are about to 70 organisations it is able to reach a much larger Many Olympic Games organisational, sponsor- come on to the market, but if they aren’t then I think global audience and attract a higher-quality andship and marketing skills are transferrable beyond the they should be considering it. more diverse range of active and passive jobseekersworld of Olympic sports. So that is positive. Not only will they ﬁnd an impressive choice of than has ever been previously available. Another piece of good news is that the wider candidates, but they also may be able to use the in- GlobalSportsJobs provides the next logical stepglobal sports event market is growing, so there is de- tense competition to drive excellent deals in terms of for talent in the sports industry. Increasingly employ-mand out there. The economy has slowed this rate salaries and packages. ers are seeking to reduce their cost-per-hire and areof growth, but the space is still expanding. The per- Of course many UK sports-related businesses taking direct control of their sourcing operations. Glo-ceived global value of such events continues to rise, have a signiﬁcant Olympic role and are so busy deliv- balSportsJobs allows them to post their jobs, show-so there is a greater need for the appropriate skills. ering now that they may not be primarily focusing on case their employer brand, manage applications and Once there were just one or two huge events per post Games recruitment. ﬁll their vacancies in a simple and cost-effective way.year, but these days there can be ﬁve or six sizeable Many employers and business owners who have For more information on job seeking, job adver-international sports events. nothing do with the Games have another challenge tising or our affiliate model, please visit our website or Another major positive is that for the ﬁrst time for entirely: getting work done during the Olympics. contact Will Lloyd at:an OCOG, the London Organising Committee has put From potential travel and transport troubles, T - +44 (0)20 7193 7764together a sophisticated outreach and post Games to possible IT infrastructure problems, getting work E - email@example.com employment programme. I’m not sure of all the done through the Games in London might be tough.
> CONTENTSCo-Publisher > Recruitment & Search > Global Sports Jobs > Post Olympics 80
Talent Management: The Balance Of Power Some industry experts are claiming that we are starting to see a change in the traditional balance of sponsorship power between ‘events owners/rights holders’, ‘organisations/leagues’ and ‘teams’ and ‘individuals’ – arguing that power is switching towards individual sports stars. But Chris Rawlings, Group Brand Director at James Grant Group, doesn’t agree that we are seeing a shift in the balance. From Euro 2012 stunts to the Olympic Games and the rise of new technologies andcommunications channels, Rawlings offers his insights on the evolving landscape.
> CONTENTS Co-Publisher > Talent Management > James Grant Group > Balance Of Power 82I don’t believe that we are seeing a shift in balance. decision again I wonder whether he would make the What you now see is many Olympic sponsors ‘If Bendtner could go back Each solution to a brand has its own merits and same one. incorporating athletes into their marketing and com- and make that decision againvalues, both as a consumer communication tool, and He is a very well paid professional footballer, munication strategies, so most of that conﬂict is mute. I wonder whether he wouldin ﬁnancial value. Overall, I feel that the situation re- playing in one of the most important tournaments for Similarly, while there has been much discussion make the same one?’mains that the most successful brands that use sport his country, was it the right thing to do? about the fact that The London Olympic Games andas part of their marketing mix either: Surely he would prefer everyone talking about Paralympic Games Act is the toughest piece of anti- > Clearly identify what they want to achieve and his performance and his team’s success, not this kind ambush legislation ever, I think that the Olympics isacquire properties and deliver campaigns that match of action? respected by its participants for what it is - a chancetheir objectives. to compete on a global stage, and any personal suc- > Integrate several properties, ie event/team/in- Inﬂuence Of Technology > What is true is that cess can be built on post event.dividual, to give them the best chance of touching all technology, especially in the communication space, The Olympics commercial programme was nottheir stakeholders and business objectives (eg brand marches endlessly forward. born overnight, and if they are to protect the rightsawareness, internal communication objectives, prod- The rise of free-to-use new technology tools they have sold to sponsors and broadcasters, thenuct sales and consumer experiences). mean players and athletes have platforms with global legislation and policing are vital. > Use a singular solution for a speciﬁc reason. reach and universal appeal. They no longer have to On another level, this policing also ensures that rely entirely on the expensive infrastructure that only when the fan buys a ticket, they know it is guaran-The Power Of Talent > There is no doubting the ben- major broadcasters and big event owners and their teed, safe and will allow them to enjoy these incred-eﬁts of a successfully executed talent programme, teams can provide. ible events, the same applies to hospitality.but it will always boil down to selecting the right tal- But players, as well as everyone else, owe a re- How athletes and ambushers approach theent and platform for the right job. sponsibility to their sports, their employers and their Olympic ‘Blackout’ period, which aims to prevent Talent has some unique beneﬁts for touching the fan bases in how it is used. athletes taking part in the Games from appearing inconsumer in an area they are passionate about, so too Recent technology developments like social me- campaigns for their own personal sponsors who aredoes providing a ticket for a must see game, or ac- dia are empowering individual athletes to broadcast not Games sponsors, is a choice made by individualcess to an experience money can’t buy. and amplify their own personal sponsorships and athletes. It may well be true that in, say, European foot- messages in ways that have never been possible be- Like in the Bendtner case, we may see some tryball, player wages continue to rise and we are seeing fore. They can be incredibly positive, and provide in- and get round the rules with stunts or CGI or subtlemore media coverage of team debt. Also, it seems sight for the fan. references. But the athletes know what the groundthere has been an increase in the USA in the number Brands see this and would like to take advantage rules are, and, if properly managed, they will alsoof player lockouts. where appropriate. Appropriateness is key and how understand the ramiﬁcations of their actions if they ‘Player power’ has existed for a long time., but it is policed is essential. It only takes one error in com- chose to go that route.when it is used inappropriately it rancour’s with the munication, or tone of voice, to lose all the opportu- The fact that the IOC has also issued social me-consumer who pays their wages. nity social and digital media presents. dia control guidelines for participants and other ac- The Premier League beneﬁts from ever grow- credited persons wanting to use social media duringing TV revenues because the quality of the competi- Olympic Battleground > Some in our industry have the London 2012 Olympic Games, doesn’t seem liketion directly beneﬁts from the quality of the players suggested that the Olympic Games might showcase a massive sacriﬁce for the athlete in order to get theparticipating. It is up to the governing bodies to act a change in the status quo - perhaps the biggest most from their Olympic experience, and also share itresponsibly in how that is managed and what guide- sponsorship show on earth might be the stage for with their fans.lines are developed. the biggest clash between ‘event owners and official Nicklas Bendtner’s Euro 2012 Paddy Power un- sponsors’ on one side and ‘individual athlete and their Individual Choice & Clarity > It’s the individual’sderwear sponsorship stunt certainly gained a great personal sponsors’. choice to decide what they will or won’t do. In doingdeal of publicity. But this wasn’t symbolic of a shift in But I think most athletes participating in such an so they also know what could happen if they make athe balance of power. It was a ‘stunt’. event value the opportunity to compete over the ﬁ- certain choice. He was ﬁned by both his team and UEFA and, nancial beneﬁts to a sponsor. While the strategies and approaches as to howeven though it is reported that ambush sponsor As long as the rules of engagement are clear and partnerships, sponsorship and relationships betweenPaddy Power paid all his ﬁnes on top of paying him everyone accepts that responsibility, both can ben- brands and sportsmen and sportswomen (and otherpersonally, if Bendtner could go back and make that eﬁt. entertainers) are evolving, I still think that there is a
> CONTENTS Co-Publisher > Talent Management > James Grant Group > Balance Of Power 83great deal of clarity on who owns what rights, and > Click text below for linkswhat those rights can and can’t be used for, or what Website: www.jamesgrant.comparticipants can or can’t do. At a World Cup, there are six main sponsors anda number of local or tournament partners. In additioneach national team will have several sponsors, plusthe players may have personal ones. I believe that conﬂicts only occur when peopletry to exploit things that don’t belong to them, theyaren’t contractually entitled to or they haven’t paidfor. Think of it this way, if someone has invested theirhard earned money in a season ticket for their favou-rite club, they don’t want to turn up on a Saturdayafternoon and ﬁnd someone else sat in their seat whodidn’t pay for it.Creative Challenge > You can still be creative as amarketer or as a brand, use the powerful passion cre-ated for consumers by sport, music and entertain-ment, without breaching someone else’s rights. That challenge is what should be keeping thoseof us who want to operate in those arenas on ourtoes: using the new technologies that arrive, and de-livering exciting, compelling work for our customersand clients.Chris Rawlings is Group Brand Director at JamesGrant Group.About Us > James Grant Group provides manage-ment and professional services for media, musicand sports clients. Chris heads up the Group’s brandactivity focusing on developing relationships withbrands and companies both domestically and inter-nationally.. For more information please visit our website orcontact Chris at: E - firstname.lastname@example.org