4518145, Dara Bell, Page 2 2/11/12How Marmite andUnilever re-kindledlove for its brandthroughpolarisation.The Marmite brand was almost 80 years old at thetime of Unilever’s revolutionary campaign. Themiddle classes, who had once been in love withMarmite, were not buying it. Marmite is in factgluten free, high in B vitamins and is vegetarianfriendly. Its quite unique or different but the Richand Strange werent buying it. Its also a low costchoice for mums to feed several children cheaplybut they werent buying it either. The weird unique(almost hippy) message wasnt cutting through inthe messaging. This in what Jack Trout andAl Ries referred to as the Positioning era by Ries
4518145, Dara Bell, Page 3 2/11/12and Trout (1981). Id label the audience theyneeded to reach as Rich and Strange. These weremiddle class, ethical and almost picky about whatthey eat. This is the story of how DDB re-framed atired brand using clever differentiation.“ In order to be irreplaceable one must bedifferent.”Coco ChanelMarmite is owned by Unilever. The company sawthe opportunity to create a cult around the product’sweirdness through a polarisation strategy. Its aunique product in a product category all on itsown. Its what makes it unique as a brand. We’lllook at this more deeply later. Marmite is madefrom brewers yeast. Its black and sticky and canstain children’s clothes, actually quite easily. Onits own its enough to polarise and can be regardedas strange!Marmite when DDB took over the brief had onlyminority appeal. Polarisation was not radical it wasa do or die moment. It had no ‘Otaku’. ‘Otaku’refers to the few brand advocates who are the keyto making a story move. In modern Japanese slang,the term ‘Otaku’ means obsessive geek but itrefers to the overall effect too. They cross over witha group sometimes called loyal sneezers according
4518145, Dara Bell, Page 4 2/11/12to Seth Godin, see Spreading The Idea Virus(Godin, 2001). They are the people who support afootball team after its winning streak is over.Furthermore Marmite had no cult around itsproduct. Cults usually form for lifestyle reasonsand a shared experience. They are often collectionsof obsessive geeks with very very very loudmembers interspersed by the sneezers as SethGodin calls them. They form for either LOVE orHATE reasons, which are often emotional.There are rituals too. If we look at HarleyDavidson or Camel Lights who have and have hadmany cult members. The loud members are theAdvocates (Sneezers) for the brand of whichMarmites had none. For both these brands these‘sneezers’ are exceptionally loud. Advocates make
4518145, Dara Bell, Page 5 2/11/12noise according to Seth Godin in Unleashing TheIdeavirus (Godin, 2001). For Harley this meantaccountants dressed in leather who drove throughtheir towns like Hells Angels.Marmites loyal sneezers in 1996 werentsneezing anymore i.e. spreading (sorry about that)The Marmite story around. At a certain point thereis tipping point at which point the messagingis stickier but we must create these conditions.There were no proponents of Marmite LOVE andno word of mouth or the market penetration thatcreates sales. The louder the more, I feel, useful forthe process of information transfer and dispersal.Its a win-win for the advertiser and the consumercult.DDB chose to highlight the positives and thenegatives, which is quite a strange strategy.Collins Dictionary describes a polarising as this"To cause to concentrate about two conflictingor contrasting positions".They had to look at the product from a fresh andless hackneyed way. This therefore becamethe basis of DDBs creative brief. The creative briefwould have examined the following. The questionsfor Marmite were these. Why were people notshouting/talking about Marmite? Could wecommunicate and position differently? Are we
4518145, Dara Bell, Page 6 2/11/12talking to the right people? Well see howoriginality and creative flair was priority numberone, later on too.Unilevers Marmite troubles were set to a boomingcable television market and a healthy commercialbroadcasting sector, especially at ITV and Channel4. Opportunity existed in other places too. Forstudents and stay at home mums, who are in theRich and Strange market there wasthe mushrooming Internet. The breadth ofmediums in fact was staggering, when you think ofradio, television and ambient. Full mediaintegration was then an imperative to deliver thisnew message. Unilever wanted people takingabout Marmite everywhere and on manyplatforms. The cult had to be formed around thenew technology too.
4518145, Dara Bell, Page 7 2/11/12Lets look at the new technology. The Internet, ifwe look at it in more detail and use GeoffreyMoores adoption lifecycle, had entered a newphase of evolution. In Crossing theChasm Moore (Moore, 1999) identifies atechnology adoption cycle. Moore identifiedearly adopters, early majority, late majority and thelaggards. The Internet was between themajority and laggard stage. It had crossed thechasm in the UK. The Internet, as a platform, inthe target markets of the UK and South Africawas entering majority use at 25% in the UK. It wasmore laggards in South Africa.
4518145, Dara Bell, Page 8 2/11/12The tipping point in Moore’s law of diffusion isbetween 15% and 18%. This represented a hugeopportunity in potential R.O.I (return oninvestment) for DDB London. Consumers’ mediahabits were changing, as were eyeballs. This hadbecome a sizeable audience that was untapped. Ifwe did a SWOT analysis of Marmite as a business,right over, wed see they had a huge opportunityusing a full range of mediums. Unilever had notmoved with these new technological habits andmediums. So DDB and Marmite were the laggards,as Geoffrey Moore would say.Furthermore Unilever had no web cults around itsstrange product. If we look at a book like TheCluetrain Manifesto (Levine et al, 1999) it says
4518145, Dara Bell, Page 9 2/11/12consumer cults form around new technology. Thebook focuses on how consumer cults usetechnology. On the messages that move throughour email, web pages and chat and bulletin boardsabout our products and services- itscollectivism. The consumer cults messages can killor make a brand. The new strategy then had tomove easily and create a halo effect, especiallywith people who only make a decision when theirfriends move, capped at 18% for Moore. (Moore1999)However, mediums werent the key issue for thenew campaign. Marmite was considered tired anddated by consumers. This we might call a threat tothe brand. Its also conversely opportunity, as wellsee later. The messaging wasnt sticky enough(sorry!). It had to stick and it had to move.As a story, the Marmite story wasnt unique enoughto tell to others. Polarising at its core essence wasabout creating division among consumersand disrupting them. Unilever in the 90s had onlyapathy. There wasnt even HATE for Marmite.Marmite fostered brand agnosticism. Tacklingagnosticism then was far more important than thechanging mediums or embracing the breadth ofmedia options. There was no compelling hook, nostory and nothing to divide and conquer. By devideand conquer I mean focus on ‘Discursive
4518145, Dara Bell, Page 10 2/11/12repetition’, over the disambiguation of theproduct’s meaning in the mind of the consumer.Key I feel was a credible anchor to achieve thisreframed meaning.Nothing about My Mate Marmite, the existingcampaign, was sticky (sorry). Specifically it hadntcreated top of mind awareness or the word ofmouth we talked of earlier in the execution of thecampaign it featured soldiers marching at abarracks. DDB sought to change thisproblem through re-framing product perceptions.The existing focus highlighted the uniqueness of
4518145, Dara Bell, Page 11 2/11/12the packaging and it had the tagline My MateMarmite and an overall Everyman voice. It franklywasnt unique anymore. The mis-en-scene was allwrong and the song sounded almost like a jingletoo. No emotion and no feeling equaled noconnection. DDB, the agency in charge, shiftedemphasis to the uniqueness of the product itself.The re-brand started with a truthful flavour (sorry)to the advertising. This honest-about-the-product isnt a new idea. David Ogilvy said inConfessions of An Advertising Man (Ogilvy,1967) that advertisers must "Make the productthe hero of your advertising". DDB achievedthese through dramatically re-framing perceptions
4518145, Dara Bell, Page 12 2/11/12with just the facts. This re-brand began withfocusing squarely as David Ogilvy had said on theproduct itself- on the ingredients! (The concreteaspects in other words).By building the cult around the brands new imagearound acute needs for time saving and lifestyleneeds of vegetarians and the gluten free D.D.Bcould cut through a whole new market. Sameproduct different demo. The new target audiencewas pushed for time, health conscious, theywere ethical and they were picky (the strange)about their ingredients. Targeting this newaudience group was then a fitter idea. Memes orideas evolve by natural selection in a processsimilar to that of genes in evolutionary biology.(Lynch, Aaron. 1998) What makes an idea a potentmeme is how effectively it out-propagates otherideas. Thus playing on ego and lifestyle and theacute needs of mums- they did this. Its a fitteridea and appeals too more needs.These needs come from the left hand of Taylor’s’Model (Taylor 2001). These are often referred to asthe transmission view of communication.Combining multiple needs creates an idea that outpro-gates others. It makes it stickier andit transmits more easily. The new campaign,
4518145, Dara Bell, Page 13 2/11/12which we’ll look at now, had surprising speed andeffectiveness because of these new uncoveredneeds (Taylor 2001).DDB created two ads one HATE and one LOVE toemphasis the weaknesses/differences. YoungmeMoon said in her book Different (Moon, 2001) thatthe creation of the hero and anti-hero idea was thekey to this brands success. Youngme sightsMarmite and Ikea as really cultivating theirdifferences and having success from thatcultivation. The second Hate ad knocks the Bvitamins, deliberately highlights that strong flavour.Well look at both ads in full later in the executionsection. HATE cultivates the differences and drawslight to them. Both adverts together have aninformational pull effect not a push effect. You’repulled to know more about Marmite. Polarisingthen creates conversation and encourages theforming of cults around the brand.
4518145, Dara Bell, Page 14 2/11/12"One thing these brands have in common is theyhave nothing at all in common." Youngme Moon(Moon, 2001) points out about Marmite and Ikea.They are Outliers. Marmite and DDB make the product the hero intheir execution. Ikea does this through activelycultivating differences too. IKEA have dozens ofgreat products combining visual merchandisingexcellence and the Swedish experience andstrange products. They strip back or skimp on takenfor granted services like lots of salespeople,customer service reps etc. The emphasise theirpoint of difference. As brands they are unique asthey are in a product category of their own. Storesare difficult to find! Marmite and IKEA- if wewrote a business plan for each- marketing them asnew businesses - would be in a product category by
4518145, Dara Bell, Page 15 2/11/12themselves.Theres no competitor for Marmite! Its in crowdedspread category but in terms of yeast spreads thereare only two in the world. I guess that doesntmean much today but compares Marmite to sayColgate and we see Colgate has 34 toothpastes andexcluding the 3 for children. This then lowersbrand equity.If we look at what Colgate have to do for people totake action its tantamount to coercion ormanipulation. The equity is then raised in findingdifferences. Abandoning conventional
4518145, Dara Bell, Page 16 2/11/12selling creates unbelievable loyalty. There wasntthen one key to success but many. Uncovering theuniqueness, making the product the hero andmoving with the technology trends all worked forDDB. Discovering the anti-hero was what madethe new campaign really sticky which well look atnow. In Made To Stick (Chip and Dan Heath, 2007)say simple ideas are the stickiest and Id sayreturning to my evolutionary arguments theypropagate fastest. The anti-hero idea has to be oneof the simplest but yet potent strategies in ourbusiness and Id like now to dig deep into the DDBchest to tell you more.There isnt anything new to this type of uniquenesspositioning but its distinctive emotional note isrelevant as is the rhetorical and visual devices.William Bernbach with his original Volkswagen ad
4518145, Dara Bell, Page 17 2/11/12changed the game with its zagging. Think Smallwas his tag line for this tiny car. Again this is a carin a category of one. Its again the Rich andStrange idea again for the Rich and Strangeaudience. It targets readers of the New York Times,Boston Globe etc. Rich for me is about theaudience, creative execution and the choice ofmediums. This caused Bernbach to targetbroadsheet newspapers in largely urban areas.Really this was the only small car you could buy inAmerica in the 1960s. Most Americans in the1960s wanted big gas guzzling cars. To them -small equaled unpopular and feminine but theStrange didnt care they wanted arty and fuel-efficient.Volkswagen was very very very different. WilliamBernbach again following the logic of my Richand Strange argument and made the car the anti-hero of his campaign. Look at the white space andthe tag line it creates a pull. (Art and Copy Film,New York 2009) The anti-hero spin gives it justthat little bit of uniqueness and sheds light on thetrue essence of what a polarization strategy is. Itsreally a tone of voice and certain irreverence. Itsalso as much about the excluded as the included.When it comes to the effects on the WOM (Wordof Mouth) detractors still sneeze.
4518145, Dara Bell, Page 18 2/11/12More recently, returning to IKEA, IKEA created itsown HATE experience. IKEA has no comparisonwith Habitat or any other interior design shop. Ifwe were to advertise IKEA wed focus simply onthe meatballs, the cafe serving the StrangeSwedish food, the Swedish shop. The Audience’sneed for choice and expression mater a lot.Moreover they address acute and lifestyle needsthrough a huge range of products, parking, andchild friendly spaces for mums. Catelogues talk ina Strange/ liberal way.
4518145, Dara Bell, Page 19 2/11/12So what then is the HATE experience?The assembling of the furniture then represents theHATE experience. The anti-hero must be found, asit’s the disguised opportunity. For IKEA the HATEexperience is the assembly of the furniture. If welook at the company website its packaged as anadventure. Its woven into the overall experience.Specifically the assembly is part of modern man’srite of passage. Overall to differentiate in aCreative Brief for an IKEA campaign, I’d belooking very closely at the overall experience.Wed include the shadow aspect see p. 284 inProcess” The Archetypes and the CollectiveUnconscious (Jung, 1996).
4518145, Dara Bell, Page 20 2/11/12In the weaving of the narrative wed then make theproduct the hero and define it all as an adventureincluding the negative experience i.e assembly aspart of that adventure. Advertisements would havea character building emphasis and an irreverenttone not unlike modern BBH ads.Think of black denim a BBH product and one ofBBH’s first accounts. It launched their agency andgave rise to the black sheep which is now the BBHlogo. John Hegarty says “Ask the same people inthe same way. You’ll get the same answers.”Then tone of voice is part of the art ofdifferentiation (John Hegarty at Cannes Lions, Sep22, 2011). It might represent the basis of ourcreative brief but for me flows from research. Onthe subject of Unilever, Hegarty has said he facesdifficulty convincing Unilever to change theirapproaches to Lynx another Unilever product. Re-invention is not an easy sell to a multi-nationalcompany. We are talking about turning oil tankersaround.Ikea ads, returning again, might feature anunpopular figure to the anchor a hate experience.Theyd be ego driven but perhaps caterto consumers specific needs as I feel Rich andStrange does. We could create negative ads aboutthe assembly of IKEA furniture that highlighted ahated cultural moment or figure. Humour would bekey. The products would have to be still
4518145, Dara Bell, Page 21 2/11/12considered favorably by the public (heroically).The execution would be very important. Comparethis to the new IKEA ads which I feel dontcommunicate their strangeness/differenceeffectively to the public. This is in a homogenizedand politically agnostic world. We want to createthen contrast to this world. How the Rich and Strange were hooked byDDB?http://www.marmite.co.uk/love/http://www.marmite.co.uk/hate/Click
4518145, Dara Bell, Page 22 2/11/12Each website has an accompanying TV ad andoverall execution is paramount. Each has to be ascompelling as the other. Routines are influencedand broken, patterns re-arranged. DDB had to cutthrough the other savory products in theirmessaging by clever use of mediums. After allMarmite might be quite unique but its still a verycluttered spread category. The medium was thenthe massage in the execution. Thats a deliberatemisquote like the book of the same name. Themixture of mediums creates a distortion of thepublic’s perception and messes with the senses.Strange! In The Medium Is The Massage
4518145, Dara Bell, Page 23 2/11/12(McLuhan, London 2008) felt each mediumdistorted our senses and played with them. DDBchose several mediums and having manymediums amplifies curiosity gaps see Chip andDan Heath again. (Chip and Dan Heath, 2007)How did DDB actually polarise in their messaging?The execution involves two separate ad campaigns.With multiple media messages the product came tolife. The best ideas spread the fastest with the leastamount of resistance. The number of mediumscreated less resistance and the consumer cult spreadthese (sorry). The originality of this execution Ifeel creates a BIGGER fitter idea.http://www.marmite.co.uk/love/http://www.marmite.co.uk/hate/ClickEach website in turn shows the polarisation
4518145, Dara Bell, Page 24 2/11/12strategy creates the desired pull, the need forinformation and conversation. It’s mild (only mild)use of choice architecture (Thaler and Sunstein,2008). The basis of which for the writers of Nudgeis about having a simple proposition. A not sosimple proposition might look something like thisand could create confusion not conversation. In the Marmite Campaign one must make adecision to become a ‘lover’ or a ‘hater’. The re-framed message Love it or Hate It and requirestwo separate campaigns to back this devision up.The ensuing effect creates the Word Of Mouth tobuild and sustain the cult indifferently. It was anew way of working with two separate campaignswith both ads intended to polarise and causechatter. Each message is inseparable to the other.Simplicity as I’ve said is key.
4518145, Dara Bell, Page 25 2/11/12Its a ‘Kadir’, a Japanese word for to cutthrough. Why was a ‘Kadir’ needed? Well apathyand indifference and overcrowding in the overallsavory snack market. DDB knew theirpolarisation strategy was the only way to cutthrough this noise. This was an acute need for thebrand. They had a product with no othercompetitor, in a category of its own in its UK/SouthAfrica markets but however no sales. Executionneeded then to remind people of the ingredients asweve mentioned but moreover the way Marmitecould be used (see the LOVE Website below).Packaging too mirrored the new message withexplicit vegetarian friendly and B vitaminsreferences. Its new Unilever packaging. To methis added up the projects overall coherence andeffectiveness.http://www.marmite.co.uk/love/ClickThe polarisation reminded the sceptical public ofthe products uniqueness. Emphasising theStrange after all the intended demographic DDBwould have looked at -are vegetarian and glutenfree loving. Many of the recipe ideas on the LOVEwebsite are vegetarian. They are speaking to theStrange. The LOVE Campaign, looking closelyat execution, looks at the B vitamins with an
4518145, Dara Bell, Page 26 2/11/12Ogilvy informational style execution. B vitaminswere the emphasis of both ads. So we are remindedof the health reasons for eating it. LOVE mentionsthe B Vitamins. But HATE also mentions Bvitamins too- in jest. Its the same effect- we arepulled in for a desire to know more.DDB in the print ad below identify polarizingcharacters like G.W Bush and compare Marmite tothese figures.Well see later that the public copies this Marmiteis like thought in it’s sneezing. Insert yourhorrible person here. By building the cult aroundthe brands new image they could cut through tothis new market liberal and picky. By picky theyare ethical and vegetarian gluten free etc. ThusDDB played on their lifestyle needs and the acute
4518145, Dara Bell, Page 27 2/11/12needs of mums on tight budget. Overall in theexecution there was more Ogilvy-esque honestyabout the strong flavour in the hate ads.Pepperami, which, like Marmite, is anotherUnilever brand, echoed it with an unapologeticallycarnivorous "its a bit of an animal". Wed sum upUnilever’s approach to both products at the time astruthful positioning. Product as anti-hero and use ofan unpopular cultural figure to anchor that feeling.http://www.youtube.com/watch?v=FWQqgfE1YaM(Click)The comedians really describing the Word OfMouth Marketing that Unilever had hoped for. Theconversation is now around the aspects of themessage that DDB hoped would go viral and wouldspread. Its moving and people are sneezing. Theensuing dialogue made people look at their ownpsyches- it makes people describe Posh Spice aslike Marmite. For an ethnographer like Geertz seeThe Interpretation Of Cultures (Geertz 1973), thereis "a system of inherited conceptions expressedin symbolic forms by means of which mencommunicate, perpetuate, and develop theirknowledge about and attitudes toward life"(1973:89). I feel this discourse has a currency forthe Advertiser. When I speak creating noise thisencapusulates playing with societies beliefs.Marmites is now a product that people want to talk
4518145, Dara Bell, Page 28 2/11/12about and wrap their conversation around andexpress deeper notions like their identity.Next see how one big chocolate company has takenthis strategy and made it digital. Its again a’kadir’, Japanese for to cut through. Smarties havea marketing strategy not aimed at children butadults. This digital strategy saw Smarties marketoutside of their intended demographic, which ispolarising in itself. They created a viral videos andwebsites to polarize, create noise and play withmeduims. (Breakenridge and Solis 2009). Theirsimilar strategy involves hated public figures whowere labeled ‘stupid’. Stupid.com was thecampaigns name and departs from a requireddemographic. Infact, we should question what is arequired demographic in our reframing. Stupidproved Students were as open to Smarties aschildren.This I feel plays on ego needs. ‘You dontpersuade with the intellect Aristotle said.Sometimes the creation of the noise is all thatmatters- creating it and maintaining it. (April1997) In an article named Cutting through thenoise (by Winston Fletcher) Fletcher argued wemust cut through the noise with advertising thatembraces creative excellence. Angus Jenkinsonformally gave a name to the idea of ascribingpersona to products taken from the values of asegment itself. Customer Prints were a "day-in-
4518145, Dara Bell, Page 29 2/11/12the-life archetype descriptions" that came from thecult themselves. They are ethnographic in nature(Chapman 2008) and means we must read thevalues of a demographic/segment and impliessomething unspoken. Unilever to date has published more than threebooks on wait for it Cooking with Marmite. Thatis creative excellence and playing with theconsumer cult that theyve built. Importantly itcreates a ritual between mother and child that canbe shared. It might not involve motorcycles andpetrol but it features Horrid Henry as theprotagonist who’s equally as zeitgeist andenthralling for them. Importantly its right into theright hand side of Taylor’s model combining ritualwith transmission on the left hand side and righthand side of the wheel. The brand is touching onalmost all buyer needs and has profitable noise.The effects are outside of the school WOM withfree sneezers thrown in, some are the detractors.
4518145, Dara Bell, Page 30 2/11/12The DDBs own Marmite polarization strategy hasbeen re-used in conjunction with cultural eventstoo. Its a phase of marketing, which I feel is reallybrand management. The desired effect again is ofcourse to continue the strong Word Of Mouth. Thetwo cultural events DDB used were the Britishelection campaigns and the Queens JubileeAnniversary. Thus a reinforcement of the originalmessage Love it or Hate it is achieved. There is aconsistency of messaging consistent with strongbranding. - congruence with the original 15 yearsold campaign. See the Marmite The Hate Party video. JustClick!http://bit.ly/ContinuingTheStrategyIn the Web 2.0 world its even easier to createstrong brands and to brand. We can break routines.
4518145, Dara Bell, Page 31 2/11/12More mediums further disrupt routine and disruptthe senses as McLuhan (New York 2008) hadsuggested. How? If we know people jump onFacebook G+ or Twitter, after work, we can engagewith them there too. Thus we meet consumerswhere they are. Its all about the engagement!President Obama used social media to win hiselection by mobilising millions of apatheticAmericans to vote and donate via MyBo.We Are Social hold the Marmite (Digital)account. Now that the brand has been re-framed inthe mind of the consumer its time to further disrupthabit. They stoke the campfire of conversation. Arecent launch of a social media campaign devisedby the strictly social media agency We Are Social
4518145, Dara Bell, Page 32 2/11/12identifies a mobilised group of superfans, termed‘The Marmarati. This proves the power of theoriginal polarisation strategy and maybe thevalidity of the beginning of this essay. Theres nowa web cult around Marmite.Its now a cult that quite powerfully can be engagedwith. XO Marmite used qualative marketresearched with real-time online dialougue.Unilever made changes to XO because of this data.We Are Social have already looked at allthe Marmite blogs (see above) and now theyare capitalising on the LOVE for Marmite. As wesee the uptake of social media continue this willintensify hopefully with more direct conversation.Expect We Are Social to monitor social mediachatter in each network. Marketing Week says theagency will directly target with direct Facebookads.How do Facebook Ads work? They monitor yourposts, timeline of media and serve you up (Sorryabout that!) Ads catered to you. In this case theyknow they have a responsive audience and a cult toaddress but could well work against them, as socialmedia is perhaps more a customer servicediscipline (Hsieh, 2010). Voice or tone can be nowused to get large amounts of information overquickly. To further increase Otaku and brand
4518145, Dara Bell, Page 33 2/11/12advocates we can listen to the word on the weband engage with the re-framed messages. Thechatter is there to be formed, moulded etc.To continue the reinforcement of the polarizationstrategy Unilever must address the cult directly.The cult formed around the Marmite brand is now acommodity. Unilever has already published threebooks on Marmite. The quality of the conversationand the brands ability to create conversation isvital.(Just click)http://www.ilovemarmite.com/default.aspSeamus Waldron, the Marmite blogger, is a loudpaid up member of the Marmarati and the cults welooked at. The cult is an online and offline cult. Itscrossed the chasm with its web use and is wellbeyond majority use now. Seamus is in the web-cult that D.D.B had hoped for- he is loud andperhaps influential too. In the Web 2.0 world-engagement is the new creativity and the noisereally counts. We Are Social can playwith the Rich and Strange idea Marmite onlineand cater to their needs. Love and Hate’ can bemanipulated and moulded and be used as a sociallubricant for the Web 2.0 conversation. Crucially
4518145, Dara Bell, Page 34 2/11/12its a conversation starter for Unilevers CustomerService.For a brand heading into maturity the FacebookAds that We Are Social proposes might start thelogjam right over again. Social media is not aplace to speak to- its a place to speak with.Sometimes just person to person see One To OneFuture. Peppers and Rogers. I see Return OnCustomer as Marmites extreme differentiation,which has been the basis of my argument. One canhandle the PR nightmares that haunt moderncompanies when factories contaminate our food.Ads dont start social media conversations.
4518145, Dara Bell, Page 35 2/11/12Remember mums, students are a huge part of thiscult and their online frequently and they are webliterate. The Cluetrain Manifesto (Levine et al2001) says its an opportunity to "talk and offerservice". Time will tell if We Are Social are makinga massive mistake with Facebook Ads. Syringetransmission could destroy the potent brandingstrategy weve looked at today.In conclusion, as marketers, we must concentrateon the product itself. We must Make the productthe hero focusing on uniqueness, on theingredients and create recipes or applications. Wemust create selling propositions that clearly makemessages different and distort our senses. We canexploit product categories and differences the waynew businesses do.We should uncover lifestyle needs and acute needsand disrupt patterns with mixed media. DDB chosea target market of the Rich and Strange-vegetarian and liberal. They spoke in theirlanguage with their technology. They indentifiedtheir vegetarian gluten free habits, and with theirsense of humour, and the things that were pissingthem off -example G.W Bush. They delivered truthnot happiness and created a product persona. Thebreadth of platforms available to DDB hadchanged- so that called for full Media integration todistort the senses as McLuhan had said(McLuhan 2008). They also had to blow the
4518145, Dara Bell, Page 36 2/11/12budget.The proposition “You either LOVE it HATE it”embodies the polarisation strategy, which I feel wasmore important than, the new platform, theInternet. This was do or die! Marmite was a uniqueproduct in a category of its own with no sales “WeAre Not For Everyone” (Huffington Post08/31/2012) is a recent ad campaign for theU.S brand Miracle Whip. When youre beingreferenced in your ads thats good. You created apotent hero/anti-hero symbol. The ad wasultimately a huge success. The product wasdifferent and DDB London communicated thesedifferences with their irreverent voice and tone.This idea,I feel, out-propagated other memes(ideas) by being simpler and more concrete and byspeaking to new a audience in a new way.References(Harvard System)Aristotle. 2001 edition Aristotles Rhetoric, 2001, LAPLambert Academic Publishing, BostonChapman, C.N., Love, E., Milham, R.P., ElRif, P. andAlford, J.L. Quantitative evaluation of personas asinformation. Paper presented at Human Factors andErgonomics Society 52nd Annual Meeting, New York,NY, September 2008.
4518145, Dara Bell, Page 37 2/11/12Arwa, Mahdawi. 30 November 2011, Love it or HateIts Strong Stuff Guardian, ManchesterGertz, Cl,.1973, The Interpretation of Cultures:Selected Essays. Basic Books New YorkGodin, Seth. 2001, Unleashing The Ideavirus, SethGodin, New York, Hyperion, New YorkHeath, Dan and Chip. 2007 Made To Stick: WhyHuffington Post. 08/31/2012, “The Great MiracleWhip Debate’, HuffPost Food GroupSome Ideas Survive and Others Die, RandomHouse, New YorkLynch, Aaron. 1998,The New Science of Memes: HowIdeas Act Like Viruses (The Kluwer InternationalSeries in Engineering & Computer Science), BasicBooks, and New YorkPeppers, Don and Martha Rogers Ph.D. (1993), TheOne to One Future: Building Relationships OneCustomer at a Time. Doubleday Business. New YorkPray, Doug. 2009 Art and Copy Film, 2009. SonyPictures, Culver City,Moore, Geoffrey Crossing. 1991, Crossing TheChasm, Harper Business Essentials, New YorkOgilvy, David. 1967 Confessions Of Advertising Man,Atheneum, New YorkHsieh, Tony. 6/7/2010, Delivering Happiness: A Pathto Profits, Passion, and Purpose Grand CentralPublishing, New YorkTaylor’s Wheel. Vol 39, 1999 Journal Of AdvertisingResearch, New York
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