Monday, June 25, 2007

Texas Rangers advertising

When I first saw these simple TV spots, they really caught my eye because typical Rangers commercials are basically announcements. So, I decided to find out who made them. Being the Texas Rangers, in DFW, I thought the agency might've been The Richards Group or another local agency. Lo and behold, the AOR (Agency of Record) is Door Number 3 in Austin! Here is what the Creative Director, Prentice Howe, had to say.

For some odd reason this is the first Texas-based agency to have their work featured in the ads showcase.


How in the world did a 20-person agency win the prestigious Texas Rangers account?

Hard work. Seriously. This was the type of account we wanted so we put in the time and energy to get it. I think winning Dallas/Fort Worth Area Tourism helped give us a presence in the area. From there, it was about building relationships, getting in the door and impressing the Rangers organization with our thinking. It was a very competitive review process so we knew we’d need to give it everything we had. We burned more than a few weekends preparing.

Now, a question from a disgruntled Rangers fan (me). How do you think they're going to do this year? World-Series bound?

As the ad agency for the Rangers, we’re not at liberty to comment. But I will tell you this. There’s a Rangers T-ball team in town that’s looking really strong this pre-season. They have a cleanup hitter named Lil’ Grande. Keep your eye on that kid.

What was the inspiration behind the campaign?

Like anything, it begins with a good strategy. Suzanne Kyba (Director of Account Service at Door Number 3) and the team put together a very smart strategy based around people’s insatiable desire for shared experiences. We’re living in a time when people hold their Blackberry more than their kids. With this campaign, we’re offering up the ballpark as a place where – win or lose – people can reconnect and get back to what really matters in life.

I noticed the ads don't show any of the players. Are they going to be in any future work?

Not in the TV, outdoor or print. We’ll have players’ voices in radio spots and we may find a way to weave them into our alt media tactics. Stay tuned.

What's it like working in LA compared to working in Austin (Prentice used to work in LA)? And what's the future for Door Number 3? Stay small or go big?

The differences have more to do with the vibe of the city than anything else. The processes and the minds are very similar. Austin is loaded with people from California, New York and everywhere in between. The creative class chooses location first, job second. Which means if you’re living in a cool city, the talent pool will keep growing and the work will find its way to the national stage.

The future for Door Number 3 is all about growing, getting better and continuing to bring out the personality of every brand we represent. I don’t think we’ll use an employee headcount as a benchmark. We’ll have met our goal when we all have matching PT Cruisers with the Door Number 3 logo airbrushed on the back.















Tuesday, June 19, 2007

Turn on Your Cell Phones!

During Intermission, Cellphones Are Brandished in a Promotion

By ANDREW ADAM NEWMAN
Published: June 18, 2007

Typically you are told to turn off your cellphone before a performance. But at a recent Saturday matinee of “Spring Awakening,” the Broadway musical that garnered eight Tony Awards last week, the audience was told to do just the opposite.

“Win Your Chance to Come Backstage!” said a flier inserted into the Playbill, which encouraged theatergoers to send the text message “bdway spring” to a five-digit number before the end of intermission.

After the show, Becky Mitchell, 18, received a text message that she had won, and she bounded onto the stage with Alyssa Navia, 19, a friend from Boston College, where both are freshmen. “This is my first Broadway show,” said Ms. Mitchell, who wore a rugby shirt and Ugg boots. “This is fantastic.”

The production’s company manager, John E. Gendron, showed them the trapdoors in the stage from which, only minutes before, two actors had risen from a dry-ice ground fog.

But what the play’s producers hope to make magically appear in the future are audiences. At the performance, 62 people sent text messages, which included their telephone numbers and e-mail addresses, in hopes of winning the contest. All of their information went into a database that will be used to pitch Broadway tickets and other promotions.

In exchange, contestants were sent a ring tone of a popular song in “Spring Awakening” and a photograph from the show to use as wallpaper on their phones. Both of the souvenirs are potential conversation starters with friends, whom the producers think of as would-be ticket buyers.

“Those are numbers talking to numbers talking to numbers,” said Damian Bazadona, president of Situation Marketing, who is working with the producers and the owner of the theater, Jujamcyn Theaters, on the pilot program. “A year or two years down the road, that’s how you’re talking to markets.”

Americans sent 18.7 billion text messages in December 2006, nearly double the 9.7 billion that were sent the previous December, according to CTIA, a wireless industry trade group. While various companies have tried to beat a path from consumers’ phones to their wallets, theater promoters, weary of phones ringing infuriatingly during denouements, have held back.

Until now.

“There’s a tendency for Broadway not to be an early adopter, but that’s changing,” said Jordan Roth, vice president of Jujamcyn, which owns five theaters in New York, including the Eugene O’Neill Theater, where “Spring Awakening” is being staged. “Most producers now are really looking for new ways to communicate with our audience.”

The musical’s producers are sharing data with Jujamcyn, which is signing up participants for Broadway Phone, its wireless service for ticket deals and show information. Since the production draws young audiences with its themes of adolescent angst, it was chosen for the maiden cellphone effort. “But our goal is to expand what we’re doing to many shows,” Mr. Roth said.

As for whether this will result in more ringing during performances, Mr. Roth said that it has not been a problem, but that the promotion might not suit every production. “Will it interfere with the show?” he said. “Yeah, that is one of the things that is open for discussion.”

About 8.5 percent of audience members have been sending text messages in the 14 contests that the production has done so far, but organizers expect participation to reach 10 percent.

For a similar promotion with a tour of the rock-oriented theatrical production Blue Man Group, an average of 16 percent of audience members sent text messages, Mr. Bazadona said.

In a tour that covered 60 cities in 90 days, about 50,000 people sent text messages. “This means that each night, 16 percent of the house is leaving the theater with Blue Man Group somehow represented on their mobile phone,” Mr. Bazadona said.

At the Eugene O’Neill Theater that afternoon, the two students were enjoying their behind-the-scenes access when Stephen Spinella, who plays several characters in the musical, strode onto the stage on his way out of the theater. He asked Ms. Mitchell what she had done to win the contest.

“I texted,” she replied. “One of my favorite things.”

Tuesday, May 29, 2007

Designers vs. Steel Cage Match



There's a really low-cost stock photo site called istockphoto and they're running a Designer vs. Designer tournament. It's a great place to go to get the creative juices flowing.

Sunday, May 27, 2007

crazy edible car ad



From the NEXT BusinessWeek blog

Agency: Fallon London

OK I have two questions.
1. Did it cost a fortune to license that song for the spot?
2. What are they going to do with it? Donate it to a food kitchen?

Thursday, May 17, 2007

Blog undergoing change

Please pardon the messiness of The Ranch. We are currently updating the layout and also adding exciting new features.

Sunday, May 13, 2007

New student work

Check out the UT student work that dominated the 2007 Austin Addys.

Saturday, May 12, 2007

Talk the talk, walk the walk

Carol Watson runs an advertising job placement firm specializing in multicultural talent. She had a post on their blog recently about a Talent Zoo article. It stressed how it's important for co-workers to understand each others perspectives. I particularly liked this excerpt from account person and author Vonetta DeVonish.

"So in working with “creatives,” I feel it’s imperative to be one yourself—talk the talk, walk the walk. Try to understand their perspective. Participate in the process."

Thursday, May 10, 2007

The honest truth behind branding

101 Brand Names, 1 Manufacturer

The Mass Pet-Food Recall Reveals a Widespread Practice:
Many Competing Products Come From the Same Factory

By Ellen Byron

May 9, 2007; Page B1

Pet owners have been reeling ever since tainted pet food led to the confirmed deaths of more than a dozen dogs and cats and likely sickened many more.

Some owners were also startled to learn that dozens of competing brands, from discount to premium, are all made by the same company, Menu Foods Inc. of Ontario.

Menu has recalled more than 60 million cans of pet food under more than 100 brand names ranging from Procter & Gamble Co.'s Iams and Eukanuba brands to Hill's Pet Nutrition Science Diet, owned by Colgate-Palmolive Co., to Ol' Roy pet food by Wal-Mart Stores Inc. Each was apparently affected by wheat gluten contaminated with melamine, a chemical substance with no approved use in food.

The mass recall lifts the curtain on a common practice in consumer products. From jeans to diapers to frozen fruit, competing brands, up and down the price spectrum, are often made by the same manufacturer.

In many cases, the maker of a brand-name product will also produce private-label versions. For example, Kimberly-Clark Corp., which makes Huggies diapers, also quietly produces training pants for Wal-Mart. Some companies make multiple brands in the same product category. P&G, which doesn't make private-label goods, produces both Pampers and Luvs diapers, targeting different consumers, just as it makes multiple detergents -- Tide, Gain, Cheer and Dreft. In fashion, low-profile licensees often work for many different designers. Kellwood Corp. sews clothes bearing labels from Calvin Klein to Sag Harbor.

To be sure, ingredients, designs and quality may differ substantially among the labels made under the same umbrella. "We have more than 1,300 recipes," says Sam Bornstein, a spokesman for Menu Foods. "Brands are very specific about what can go in the product, and we are governed by strict contracts and quality control and testing."

But often the main difference is marketing -- and price -- and that can be hard to sustain once products are perceived as commodities. A recent survey by GfK Roper found that 54% of respondents weren't aware before the recall that both premium and standard pet food brands were made by the same supplier. Knowing this, 26% said they were less likely to buy premium pet food, though 60% said it made no difference.

"The sheer magnitude of how many branded products come from one source erodes the whole basic premise of what branding is in the eyes of the consumer -- they feel duped," says Eli Portnoy, who heads Portnoy Group Inc., a Los Angeles-based brand-strategy firm.

What's more, when many brands are made by the same manufacturer and a problem occurs, it's harder for consumers to find a safe substitute.

The growth of contract manufacturing reflects a number of changes in manufacturing and retailing. Decades ago, most branded products were actually made by the company that owned the brands. But over the past 20 years, many big retailers have tried to differentiate themselves from competitors by offering private-label brands, which they needed to have manufactured by outsiders.

Meanwhile, consumer-product makers, facing competition from store brands, sought to increase efficiencies by making private-label versions of their own branded products, or by outsourcing their manufacturing to third parties that could do it more cheaply.

Some consumer-product companies have been forced to make both generic and branded products to please retailers. "If a major manufacturer is unwilling to produce private-label products, there's a possibility the retailer won't sell their branded products," says Burt Flickinger III, who has advised companies such as Alcoa, Del Monte Foods and Heinz on how to better manage their branded and private-label businesses. Alcoa, which owns aluminum wrap maker Reynolds, for instance, makes both private-label and Reynolds aluminum foil and plastic wrap.

Making both private-label and brand-name products does give manufacturers a hedge against downturns. But, says Jack Trout, president of Trout & Partners, a marketing strategy firm in Old Greenwich, Conn., "If the public begins to get the perception that there's not much difference, then you can't hold your prices -- that's the bottom line of the whole [pet food] scandal." He adds, "Commoditization is the real enemy of branding."

In the past, branded pet foods had an emotional advantage: Many owners were loath to give low-quality food to their pets. But even veterinary nutritionists say they have difficulty telling brands apart. "The money you spend on a [premium-brand] diet does not always equate with the quality of the food," says Andrea Fascetti, associate professor of nutrition at the School of Veterinary Medicine at the University of California, Davis. "There are no requirements around calling something a 'premium' or 'super-premium' product."

P&G argues that even products with identical ingredient lists aren't necessarily equals. "A less-expensive brand can copy an ingredient list but might not have the same combination to the way the recipe is put together," says company spokesman Kurt Iverson. The quality of ingredients and the way they are combined affects how nutrients are absorbed by the animal, he says.

Still, the labels of two similar products -- the Iams and Supervalu Inc.'s NutriPlan beef entrees -- suggest only marginal differences. Both Iams and Supervalu say their beef entrees are formulated to meet nutritional levels established by the Association of American Feed Control Officials. Each product contains at least 9% of crude protein. Iams' product has a minimum of 6% crude fat and no more than 1% of crude fiber while Nutriplan's crude fat is at least 5% and crude fiber a maximum of 1.5%. The biggest difference may be the price: A 13.2-oz. can of Iams is 99 cents, roughly double the 50 cents for a Nutriplan can of the same size.

Both products say that moisture comprises a maximum of 78% in the product. The Iams product also lists omega-6 and omega-3 fatty acids, but notes that these aren't recognized as essential nutrients by AAFCO.

Hill's, owned by Colgate-Palmolive, says its pet-food products contain nutrients tailored to a pet's life stage, activity level or health condition. "Many generic brands offer 'all-life-stages' products that do not tailor key nutrients like protein, calcium or sodium to health requirements of different ages," according to a company spokesman, who notes that Hill's manufactures more than 95% of its products in-house and is building additional plants to further increase in-house production.

Still, some veterinarians aren't convinced. Jeffrey Barrow, a veterinarian at the Marshfield Animal Hospital in Marshfield, Mass., says he used to recommend Iams and Hill's products, but for safety reasons now advises pet owners to make their own pet food, supplemented by multivitamins, until the recall fully concludes.

Friday, May 04, 2007

Critique please: Michaels




Matt Crump: Art Director/Idea Maker
Nancy Jeng: Art Director/Idea Maker

Wednesday, May 02, 2007

Former Texas Creative Students Named Top Creative Team

This was a press release sent to me.

May 2, 2007

Contact: Sean Thompson (512.471.8153 or contact via e-mail.)

Former Texas Creative Students Named Top Creative Team

NEW YORK, NY – Two recent University of Texas advertising grads, Dave Roth and Shaun Bruce, were named the best creative team in the entire business with less than two years of experience. The team recently picked up their “First Boards Award” clapboard in Los Angeles from ‘Boards magazine, an industry publication.

Roth and Bruce, both May 2006 graduates, were hired full-time last fall at Amalgamated, a cutting-edge New York ad agency, following internships at the agency.

Asked about their favorite account they’ve worked on thus far, Roth mentions the Ben & Jerry’s brand. “Since we’re part of the production process, we’ve gotten to do lots of stuff we haven’t for our other clients – like pitch scripts, look over production company reels, chat with directors, cast talent, edit, and such. We’ve taken some really fun trips out to Burlington to visit headquarters where there are bountiful free pints of test ice cream.”

Beyond the ice cream perks and working with Ben & Jerry’s, Roth and Bruce are also working on renaming Court TV and the promotion of a new series called “Bounty Girls.”

“What’s made Shaun and me really lucky to have jobs at Amalgamated is that the conceptual phase starts with the same freedom we had in Texas Creative. We still make thumbnails like Sean Thompson had us do the first week of Portfolio I.”

What makes the creative sequence at UT standout according to Roth? “Like Texas, at Amalgamated, we’re all rooting for each other and helping each other out, and I definitely work better in an environment that’s mutualistic and not competitive.”

As the only UT graduates at their agency, they’re encouraging Texas Creative students to send their portfolios, so they can recruit more Longhorn talent.

Before coming to Austin for the same program Bruce, a Colorado native, pursued journalism at the University of Colorado. Roth, a graduate of the University of Michigan, pursued a degree in dramatic arts.

Located in New York, Amalgamated was founded in 2003 providing their clients with a service that is unique to the world, combining distinctive brand consulting with a full-service multi-platform advertising agency.

Housed within the University of Texas’ Department of Advertising, Texas Creative is one of the leading creative advertising education programs on the planet. Rooted in sound strategy and conceptual process, Texas Creative molds students into fearless experimental thinkers who are primed to create innovative advertising, branding, and social messages that are delivered through a variety of integrated traditional and nontraditional media.

Advertising is one of five academic departments in the College of Communication, which specializes in Advertising/Public Relations education and research and provides a training ground for creatives, account executives, media planners, account planners, interactive specialists, researchers and public relations executives. The University of Texas is located in the center of Austin, Texas.


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