Clouds Over Holkham Beach July 2009

Direct Action

I really don't like First Captial Connect. Many people don't. Here is someone who clearly doesn't. Yesterday they were queues outside the station as people waited for the service to be resumed after a problem with the overhead cable. Today, it was a cracked line at Farringdon. So I turned around, went home, and tried again an hour later. I got on a train and the journey seemed to be going smoothly until we stopped outside St. Pancras. The driver told us we would have to back up to the last station as St. Pancras had too many trains in it. Great! I was going to be late for work, two hours late, for the second day running. I was annoyed. Whilst in the train, I found, and called, the complaints line for First Capital Connect (at least they have one) and got through to a very pleasant chap. I told him he was very nice but I hoped he was able to move job very soon as it was a dreadful company. I also told him the service was a shambles and then asked my fellow passengers to shout "shambles" into the phone. It was a little hit and miss; some people shouted quite forecfully, others looked on quizzically. But he got the message, and it cheered the passengers up a little, at least those who understood what I was doing. Next time I will orchestrate it better by informing my fellow passengers what I am planning to do, then get a much heartier and full response.

Cool boy summer shorts

Judging at the IPA

I had the honour a few weeks of being one of the industry judges at the 2010 IPA Effectiveness Awards. These awards have the reputation of being the most rigourous and difficult in the marketing and communications world. It is worth taking a further look, here. They are only held every two years as it is felt it would be too ardous on potential entrants to have them every year. 'Even' years are open to agencies, media owners and clients worldwide, and 'odd' years are limited to campaigns with a total annual marketing communications budget of up to £2.5 million and have to be submitted by agencies, media owners and clients in the UK only.

Two things separate them from their Effie cousins above anything else, in addition to the every two years piece. Firstly, they absolutely require evidence that the activity paid back on the investement made ie fees, production and media. If the paper doesn't show this has been achieved then it will be disqualified. Secondly, the entries are far longer than the Effies: with 'even' years being limited to 4,000 words and 'odd' years being 3,000.

This year was, by all accounts, a very good year. A very high number of entries, just under seventy, and the majority of a high standard. There were about 30 industry judges who are split into two groups, each group will mark about half the papers and everyone in each group reads all the papers that are allocated to that group. Each paper is generally reckoned to take about one hour to read. The box of the papers you have to read arrives one day in a big box with a judging form and a survival pack that includes; Nurofen, Pro Plus, an energy bar, an energy and a small bottle of champagne. Very sweet. So with briefing and a day's judging I guess I notched up close to 40 hours on it. And what a privilege.

The quality of the entries was fantastically high, and very enlightening, in the main, to read. The judging day, with a group of very well informed judges, with a broad range of experience (see here for more details on the judges) was equally enlightening and great fun as well. The discussion throughout the day was extremely high and enjoyable.

A number of observations about the papers really popped. The really good ones are clear to read. Superflous adjectives grate. There needs to be more general knowledge about econometrics (so many papers have them now, over half, and we were too often hanging on our econometrics specialist's every word). It is a time consuming task to write a really good one. If you can make the paper work without economics, do it, as it will likely be easier to follow. Too many charts is as bad as too few.

A big thanks to David Golding, convenor of judges and Marie Oldham, the deputy convenor, who steered us through the day with a deft touch and from our short-listing of entries the client judges now have to decide who gets bronze, silver, gold and grand prix. I am already looking forward to the awards dinner in November.

Peter Cooper Obituary

Psychologist and pioneer of focus groups in Britain

Peter Cooper, who has died suddenly aged 73, was a psychologist who pioneered the use of the focus group in market research in the 1960s. His company, Cooper Research and Marketing, advised many large companies on consumer behaviour, helping them to understand the market in relation to leading brands.

Peter also recognised the potential of market research to empower disadvantaged groups by breaking down traditional structures in society, such as the doctor-patient relationship, and even ventured into the imbalance in equality between men and women, thus seeking to make market research an integral aspect of the democratic process. His work in the last years of his life was preoccupied with the needs of consumers caught in the recession.

Born in north London, Peter was evacuated during the second world war and, after his parents separated, he was brought up principally by his father, a professional trumpeter. In 1959, he graduated with a first-class degree in psychology from Manchester University, where he stayed on as a postgraduate to work with his mentor, John Cohen, on aspects of the psychology of risk.

A significant element of his research involved children's understanding of war and peace, based on studies carried out in Japan, Germany and the UK. His work took him to the Sorbonne, in Paris, and to the universities of Oslo and London. During this period he was also actively involved in the Workers' Educational Association.

In the mid-1960s Peter studied in France, where he was intrigued by new approaches to understanding consumerism. People would be taken away for a long weekend in order to be observed as they expressed their relationships with different brands and products. Peter recognised that equally effective results could be obtained by bringing consumers together for three-hour sessions to explore emotional, as well as practical, responses to a range of issues relating to consumerism, from product attributes to advertising, packaging and brand identity. During these "extended creativity group" sessions, respondents were asked to draw, model with clay and role-play their feelings and emotions. In time, this method was to become recognised globally as the alternative to the more narrative-centred groups that predominated in the US.

In 1963 Peter became one of the first academics to apply his research to the marketplace and, in 1966, with his then wife, Jackie French, he set up Cooper Research and Marketing (later CRAM International). In 1968, the company moved from Manchester to London where, over the next four decades, a string of major companies sought Peter's advice on consumer behaviour, among them Guinness, BMW, the Financial Times, British Airways, Persil, American Express, BP, GSK, the BBC and Nokia.

From understanding marketing techniques to helping pharmaceutical companies better understand patients' needs, Peter gave an intellectual rigour to market research. Furthermore, he was fascinated by the need to develop different techniques outside western markets. From the early 1980s, he was in the far east, introducing his methods to Japan, China and south-east Asia.

He was also acutely aware of the importance of new technologies. A fellow of the UK Market Research Society and the Royal Society of Medicine, Peter conducted pioneering work in ethnography and also on the quantification of qualitative research data, which he called QualiQuant. He wrote many papers and was active right up to his death, highlighting key issues in contemporary marketing, market research and communication.

A byproduct of Peter's love of psychology was his passion for phrenology. While he acknowledged the flawed science behind it, for him phrenological busts were things of beauty, and over the years he amassed a significant collection of phrenologica. He sought to revive interest in the subject, and in the early 1980s commissioned a limited edition of Coalport china phrenological heads.

Peter and Jackie divorced several years ago. For the past 10 years, he lived with his partner, Claudia, also a psychologist, in Gloucestershire. They were brought together not only by their interest in psychology, but also good food and fine wine. They shared their lives with two horses, two Shetland ponies, three cats and six chickens. Claudia survives him, as do his three children and five grandchildren.

• Peter Cooper, psychologist and market researcher, born 26 November 1936; died 12 February 2010

(From the Guardian Thursday 8 April 2010) Simon Patterson

LIP DUB

LIPDUBing is a combination of lip synching and audio dubbing. I hadn't come across it until John Richer, a family friend from France, sent us one, that he had directed for his college in Lyon. John, by the way, is the cool one in the shades at the beginning.

Local Wine Lingo

Almost two-thirds of us are apparently baffled by wine speak. To make vino more accessible Spar is using local dialects on its wine labels. Their Merlot with the label written in 'Scottish dialect' for example, above. And here are passages of the article in the Guardian about it:

Bewildered by talk of "blackcurrant top notes"? Baffled by "bouquets"? Unsure if "long legs" are a good thing in a glass of wine? Retailer Spar is claiming today that 64% of shoppers are intimidated by the labels on the back of wine bottles.

So what is it doing to help confused consumers get the perfect wine to complement Sunday's roast dinner? Relabelling the bottles with plain English versions? Offering definitions of common terms to buyers? Umm, no. It is slapping on labels written in "local dialects" – and yes they are as bad as they sound.

Fortunately, just one of its wines – a £4.99 Merlot – is getting the treatment. The descriptions have been "translated" into eight different local dialects, including geordie, Brummie and scouse.

Geordie wine label: 'A canny Merlot ableeze wi succulent blackcurrants'. So instead of a straightforward plain English description of what you might find when you pour yourself a glass, if you are in Somerset you get this: "Alright my luvver, eers one helluva Merlot. Be stinkin hummin a sivvies thar be bleddy ansome wi yaw croust or oggy. Purfect ta share wi yaw pardy as i' aiin ta eavy. Mygar be a purdy wine! Churs!"

While in Liverpool you are promised: "A totally boss bottle of Merlot which smells o' blackberry, choccie, a brew and toffees. Juicy and complex like, this bevey is top wi most scran 'specially me ma's scouse. Tellin ye, this is deffo a bevey that will leave youz and youz mates made up over yez Sayers pastie."

As well as being borderline unintelligible, the descriptions also include what might be considered baffling wine-speak, albeit with a regional accent. In Newcastle consumers are told the wine has "legs leik a thoroughbred", while in Scotland the label describes "a youngane's colour wi cherries an black fruit on the nose" – if you can't understand that in English, is it really any clearer now?

A spokeswoman for Spar denies the labels are patronising. "Local shopkeepers and suppliers came up with the dialect – it's not come from central office or from a computer," she insists. "We know that people don't really talk like this – we just wanted to make wine buying accessible and fun." She says the wine is genuinely on sale at 50 stores and could be rolled out if the reaction is favourable.

Spar's wine controller, Laura Jewell, adds: "Ultimately our wines will speak for themselves, but in the meantime it's time to speak people's language." Let's hope they don't have too many bottles in the cellar.

This is not the first time a company has tried to harness local accents to attract attention – earlier this year, ATM provider Bank Machine launched cockney cash machines.Fingers crossed it's the last.

I think it rather amusing, and ironic that impenetrable wine lingo has been replaced with impenetrable dialect speak (which I am not sure is for writing anyway!).

Get Out Of My Face

I don't like it when brand represenatives try to make that extra sale when I don't want it.

I don't like it when the server at Starbucks asks me if I want a blueberry muffin with my cappuccino even though I am standing in front of them and quite clearly haven't asked for one with my order.I like it even less when a group of "volunteers" from Friends of the Earth, a brand I previously had a lot of time for, were virtually patrolling the pavements on Victoria Street, accosting pedestrians, some of whom were clearly not interested, and trying to get them to sign up. When I approached one of them with my camera phone pointing in their direction they scarpered and hid. I suggested to them they were not doing their brand any favours by engaging with the public in such an aggressive way and would be better off having something which 'gave' to the pass public; music, some speakers, etc.

I like it even less when what is being fostered on me seems to make no sense. I went to the gym yesterday for a quick lunchtime swim. I gave the receptionist my gym membership card and a pound deposit for the towel before going through the turnstile when the receptionist turned to me and said "Would you like a drink?"

Now I understand why, even if I don't care for it, the server at Starbucks would ask me if I would like a muffin when I order a cappaccuino, or a shoeshop salesperson would ask me if I would like some polish or a shoe tree when I buy a pair of shoes, but I asking me if I want a drink when I going to have a swim, well that is a bit of a stretch. I didn't like it. I told him I didn't want a drink but I would like a swim.

These brands just don't do themselves any favors by trying to make that extra sale. Perhaps the numbers DO add up. It would interesting to find out if these staff prompts actually generate enough sales to justify the little bit of sales training required to push today's hot sell AND overcome the level of negativity they will be building up around the brand.

In contrast, I was walking through St. Pancras/Kings Cross station a few days ago. There were a few Gt. Ormond St. volunteers dotted around the station concourse (never more than one, not a pack like Friends of the Earth folk) holding a bucket into which they wanted passers by to put their cash. They didn't make a sound. They stood still and just waited.

I immediately put all my change into one of the buckets and told him of my encounter with the Friends of the Earth "volunteers" in Victoria. He replied, sagely, "they are probably on commission".

Signage

From NJ. A very old-fashioned way of addressing young-fashioned people. I suspect it was not the best way to get this message across to this target group.

Account Planning Group Article

Another article I tracked down. This one is from 2002 and appears on the Account Planning Group's website.

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Media-neutral planning - what is it?

Christian Barnett, Board Account Planner, Rainey Kelly Campbell Roalfe/Y&R
This paper focuses on three key areas for discussion: firstly, what an agency delivers to ensure a media-neutral campaign, secondly, what the optimum agency-client structure to make integrated campaigns a reality, and thirdly the implications for the agency team composition.

What the Agency delivers

It is important to deliver more than just the written definition of the 'creative idea', and the advertising campaign. There needs to be an entire 'brand language' which includes definition of the idea in a conceptual, linguistic (literally examples of headlines and copy) and a visual way. The last is particularly important as many integrated campaigns rely on a visual synergy to hold them together, especially in media such as packaging, trade merchandising, and other in-store design.

The best approach to developing a 'brand language' is by means of a specifically tailored 'style guide'. This ensures that an integrated solution can be implemented not just sold. The style guide contains examples of how the campaign is intended to work in various media (TV, outdoor, print, on-line, trade, in-store, etc.). The idea, the visual look, the language and other executional elements are dissected and explained so that they can be easily reproduced.

The skill lies in being able to produce an integrated campaign that has an idea and a look. An idea with no look is difficult to replicate in many of the static media. A look with no idea becomes hard to execute in a dynamic media such as TV.

As a result, a clear distinction is made between the integrated campaign style guide and a traditional graphic designer's brand book. The latter may establish a visual look but can be very difficult to create advertising to.

What is the optimum Agency-Client 'Structure'

Some agency-client structures are more helpful than others at facilitating media-neutral campaigns. The least helpful scenario is that where a client keeps its agencies in separate 'silos'. The different agency disciplines are kept at arm's length, thereby stacking the odds against integrated thinking and solutions.

On the agency side, the least helpful scenario is one in which the agency develops an idea, shows how it works in advertising and hands the execution back over to the client. It is then up to the client to make it work in other media. Often the idea will not have been rigorously road-tested inside the agency and collapses as soon as it is taken to another media, either through insufficient skill in the transportation or because another agency has its own ideas and scuppers the 360 solution. A more typical scenario is when the client selects a number of specialist agencies. This way of working enables the client to pick 'best of breed' agencies, but it is reliant on the different agencies working closely together, something which at best requires considerable managing. In addition, best of breed agencies with their own client contract will want to impress so it is only natural that conflicts arise. This form of client-agency structure can have huge pluses; genuine integration from best of breed, but can easily go off the rails.

Another favourable scenario is the client who wants a genuine one-stop agency solution. A good example of this at RKCR/Y&R is the LEGO account. The LEGO Company had too many agency relationships around the world and saw a one stop global agency as a way to create totally integrated campaigns coming from one brand. Their brief included an integral role for media planning as part of the central creative function even though they already had regional media planning in place. They recognised that to speak with one brand voice throughout the world a one-team solution was the best way forward.

To get truly integrated ideas it is preferable to have all the disciplines under one agency roof, all working for the same agency team and pulling together. This ultimately means creative teams from different disciplines being briefed and working side by side, inputting ideas into each other's discipline in campaign development.

This thinking carries over to media planning: account planners and media planners work side by side to produce creative briefs and media shapes and then work together with creative teams to develop the best creative route.

Ironically, this structure is like a return to a full service agency, as it works better when all key parties are in the same building. The LEGO account pitch saw the RKCR/Y&R team working with the interactive specialists (2.1), the communications planning team (TME 360), and so on. All the constituent parts of the team were literally a stone's throw from each other so it was easy to 'roll' ideas on in real time rather than have lots of lumbering set piece meetings which can confuse and impede progress.

Implications for composition of agency team

Inevitably, the above has implications for the agency team composition. Creative teams need to be open to other creative teams, from different disciplines, working with them. Media planning needs to be brought into the process earlier as a 'guide' for the media shape. Non-traditional, non-silo thinking is essential and can be generated by including non-traditional, non-silo people. There is likely to be a big visual component, so significant art direction /design is required. But above very clear strategic and creative direction is required to keep the creative development process on the rails!