Últimas 100 Atualizações do Website via Twitter:

Pesquise todo o conteúdo do website Horus Strategy abaixo:
Loading

sexta-feira, novembro 19, 2010

Cannes agora é Festival Internacional de Criatividade

Cannes agora é Festival Internacional de Criatividade

A organização do Festival de Cannes anunciou que o evento passa a ser conhecido como Festival Internacional de Criatividade, e não mais como Festival Internacional de Publicidade.

A medida sinaliza a crescente importância de outras formas de comunicação que não a publicidade tradicional, algo que já vinha sendo reconhecido com a instituição de categorias como Design Lions e PR Lions.

“Muitos dos Grand Prix são agora outorgados a experiências, tecnologias, mídia social, conteúdo gerado pelo usuário, serviços e eventos. As opções para os profissionais de marketing agora são as mais variadas e enriquecedoras, e precisamos abraçar estas mudanças. É importante que Cannes Lions ofereça um evento global que seja relevante para a indústria. Tendo prestado atenção ao feedback de seus líderes, consideramos que agora é a hora certa de realmente refletir o que o Festival se tornou”, afirmou em comunicado Philip Thomas, CEO do evento.

O festival foi lançado em 1954 como foco em publicidade para TV e cinema. Em 1983 os dois foram unificados sob o prêmio Film Lions. Apenas em 1992 a categoria Press & Outdoor foi adicionada (seria futuramente desmembrada em duas), chegando em seguida o Cyber Lions (1998), Media Lions (1999) e Direct Lions (2002).

Após a compra do festival pelos britânicos da EMAP junto ao francês Roger Hatchuel, em 2004, foram adicionadas ainda as categorias Radio Lions, Titanium Lions (ambos em 2005, sendo que a última abraçaria o Integrated Lions em 2007), Promo Lions (2006, se tornando Promo&Activation em 2010), Design Lions, PR Lions (2009), Film Craft (2010) e o mais novo Creative Effectiveness, que estreia em 2011 e premiará cases reconhecidos em outras categorias de 2010 que tenham obtido resultados. Hoje, são 13 categorias no total.

Bookmark and Share

quinta-feira, novembro 18, 2010

FECHAMENTO 18/11/10: Irlanda, dados positivos dos EUA e China animam investidores e bolsas sobem. Dólar cai

FECHAMENTO: Irlanda, dados positivos dos EUA e China animam investidores e bolsas sobem. Dólar cai

O Ibovespa subiu 1,54% aos 70.781 pontos, com giro financeiro de R$ 6,525 bilhões.

18 de novembro de 2010 - A percepção de que a Irlanda aceitará um pacote de ajuda do Fundo Monetário Internacional (FMI) e da União Europeia (UE) - estimado em € 100 bilhões, dados favoráveis da economia norte-americana e o anúncio da China de que adotará medidas necessárias para controlar a inflação ajudaram a elevar os ânimos dos investidores nesta quinta-feira, apesar de os problemas por lá persistirem, uma vez que o mercado volta-se agora para Portugal, Grécia e Espanha.

Hoje, o presidente do Banco Central da Irlanda (ICB), Patrick Honohan, disse em Dublin que o país poderá receber um "empréstimo muito substancial" no valor de "dezenas de bilhões" de euros. As declarações elevaram as expectativas de que um pacote de ajuda sairá em breve.

Da China, pesou favoravelmente a informação de que a país poderá adotar medidas administrativas para conter a alta dos preços, sinal de que o governo de Pequim talvez não precise elevar os jurso para controlar a inflação.

Dos Estados Unidos, o Conference Board informou que os indicadores antecedentes econômicos (Leading Economic Index - LEI) nos Estados Unidos aumentaram 0,5% para 111,3 pontos em outubro. A alta do mês passado segue o aumento de 0,5% em setembro e de 0,1% em agosto.

A atividade industrial da Filadélfia também mostrou expressiva melhora em novembro, segundo comunicou o Federal Reserve (Fed, banco central norte-americano) da região. O índice de manufatura subiu de 1,0 em outubro para 22,5 em novembro.

Já o número de pedidos de auxílio-desemprego (initial claims) no país cresceu em 2 mil para 439 mil na semana encerrada no dia 13 de novembro.

Na Europa, o déficit em conta corrente na zona do euro subiu em setembro ao passar de € 4,1 bilhões no mesmo período de 2009 para € 9,2 bilhões este ano.

O resultado ajustado sazonalmente ficou em € 13,1 bilhões contra € 6,9 bilhões em agosto, pior resultado mensal desde fevereiro de 2009, quanto atingiu € 12,1 bilhões.

As vendas no varejo no Reino Unido cresceram 0,5% em outubro ante o mês de setembro, informou nesta manhã o Escritório Nacional de Estatísticas (ONS, na sigla em inglês). Em relação ao mesmo mês do ano anteior, o volume de vendas diminuiu 0,1%.

Por aqui, seguindo o clima internacional mais ameno, a Bolsa de Valores de São Paulo fechou em valorização pelo segundo dia consecutivo e recuperou o patamar dos 70 mil pontos. Ao final do pregão, o Ibovespa subiu 1,54% aos 70.781 pontos, com giro financeiro de R$ 6,525 bilhões.

No mercado de câmbio, a moeda norte-americana terminou cotada a R$ 1,714 na compra e R$ 1,716 na venda, um recuo de 0,58%. No segmento futuro, os contratos para dezembro operam com baixa de de 0,83%, a R$ 1,717.

Na renda fixa, por sua vez, na ausência de indicadores domésticos para guiar a curva de juros futuros, os Contratos de Depósitos Interfinanceiros (DIs) mais líquidos terminaram em alta na BM&FBovespa.

Próximo do fechamento, os contratos para dezembro deste ano caiam apenas 0,01 ponto percentual, a 10,63%, enquanto janeiro de 2011 opera estável a 10,66%. Janeiro de 2012 subia 0,06 p.p., a 11,64% e janeiro de 2013 valorizava 0,07 p.p., a 12,15%. Janeiro de 2014, por sua vez, subia 0,06 p.p., 12,13%. Por fim, janeiro de 2017 também subia ao passar de 12,04% para 12,07%.

(Maria Cecília Ferraz - www.ultimoinstante.com.br)

Marcadores:

Bookmark and Share

Publicis Groupe Acquires Eastwei Relations in China

Publicis Groupe Acquires Eastwei Relations in China

Data: 17/11/2010 @ 04:33
Fonte: Business Wire

Regulatory News:

Publicis Groupe (Paris:PUB) today announced it has signed an agreement to acquire Eastwei Relations, one of China’s first independent public relations and strategic communications consultancies. Eastwei will be renamed Eastwei MSL and will be aligned under MSLGROUP, Publicis Groupe’s leading specialty communications, PR and events network.

Founded in 1994, Eastwei today employs more than 120 staff across its four offices in Beijing (its headquarters), Shanghai, Guangzhou and Chengdu. Eastwei’s key clients include IKEA, Sony, Singapore Tourism Bureau and Porsche. Over the last 15 years, Eastwei consultants have developed a wide range of China-specific, proprietary tools, processes and software for managing strategic communications campaigns. Last year, leading PR industry analyst, The Holmes Report, named Eastwei 2009 China Consultancy of the Year.

Johan Bj�rkstén, Founder and Chairman of Eastwei, has been working in China for more than 20 years and is recognized as one of the most successful foreign businessmen in the country. Bj�rkstén is a founding member of the Swedish Chamber of Commerce, and a board member and China advisor to numerous international companies and organizations. Bj�rkstén is also a media celebrity in China, having hosted more than 400 of his own weekly Chinese TV and radio shows, and has written several books on Chinese business and language, including the recent local bestseller How to Manage a Successful Business in China. Following the acquisition, Johan Bj�rkstén will report to Glenn Osaki, President MSLGROUP Asia.

Olivier Fleurot, Chief Executive Officer, MSLGROUP, remarked, “Today marks the second investment in as many months by MSLGROUP in strengthening capabilities in the Asia region, following the acquisitions of 20:20 MEDIA and 2020Social in India. Eastwei MSL will become a key hub in the MSLGROUP global network for insight, strategic counsel and campaign execution in China and bring added service offerings to our clients in this important market.”

China has one of the most dynamic and fastest-growing communications markets in the world. According to ZenithOptimedia forecasts (October 2010), Chinese ad market year-on-year growth is expected to reach 14% in 2010, 13.4% in 2011 and 17.7% in 2012. Publicis Groupe is present in China through all of its global networks. The Groupe employs more than 3,700 professionals throughout more than 50 cities (including Beijing, Shanghai, Chengdu, and Guangzhou).

About Publicis Groupe

Publicis Groupe [listed on the Euronext Paris Exchange - FR0000130577 - and part of the CAC 40 index] is the world's third largest communications group. With activities spanning 104 countries on five continents, Publicis Groupe offers local and international clients a complete range of advertising services through three global advertising networks, Leo Burnett, Publicis, Saatchi & Saatchi, and numerous agencies including Fallon, 49%-owned Bartle Bogle Hegarty, and Kaplan Thaler Group. VivaKi combines digital and media expertise, allowing to connect with consumers in a holistic way, with Starcom MediaVest Group and ZenithOptimedia worldwide media networks; and interactive and digital marketing led by Digitas and Razorfish networks. VivaKi develops new services, tools, and next generation digital platforms. Publicis Groupe’s specialized agencies and marketing services offer healthcare communications with Publicis Healthcare Communications Group (PHCG, the first network in healthcare communications), sustainability communications and multicultural communications. With MSLGROUP, one of the world's top five PR and Events networks, expertise ranges from corporate and financial communications to public relations and public affairs, branding, social media marketing and events.

Web site: www.publicisgroupe.com

About MSLGROUP

MSLGROUP is one of the world’s top 5 PR and events networks and provides clients with speciality communications, PR and events advice and execution. With more than 2,500 employees, its offices span 22 countries and cover virtually every discipline required for clients to engage creatively with their audiences 24 hours a day. Adding affiliates and partners into the equation, MSLGROUP’s reach increases to 4,000 employees in 83 countries. The group offers clients strategic advice, insight-guided thinking and big, compelling ideas – followed by thorough execution. MSLGROUP is Publicis Groupe’s flagship PR and Events network. www.mslgroup.com

About MSLGROUP Greater China

Combined, MSLGROUP Greater China includes more than 225 staff in seven offices across Beijing (2), Shanghai (2), Guangzhou, Chengdu, Hong Kong, as well as Taipei, represented through long-time partner Interactive Communications Ltd. (ICL) Taiwan. Each agency operates as a distinct and independent business while working under a common MSLGROUP Greater China brand. To access more information on MSLGROUP Greater China and its agencies, visit www.mslgroupasia.com

About Eastwei MSL

Founded in 1994, Eastwei MSL is a leading strategic communications agency in mainland China and is part of the MSLGROUP global network. Eastwei MSL offers a range of communication solutions to clients including strategic communications counsel, media relations, social media and event management. The agency has more than 120 communication consultants across its offices in Beijing, Shanghai, Guangzhou and Chengdu. In 2009, Eastwei MSL was recognized "Consultancy of the Year" in China by the Holmes Report.

www.eastweimsl.com : 6/F, Tower A, Fulllink Plaza, No.18, Chaoyangmenwai Ave, Beijing 100020 telephone +86-10-5979 5558

Marcadores:

Bookmark and Share

The Future of Advertising

The Future of Advertising

Billboard, wrecking ball, illustration

Illustrations by Tavis Coburn

Advertising is on the cusp of its first creative revolution since the 1960s. But the ad industry might get left behind.

Television, hammer, destroy, illustration

Illustrations by Tavis Coburn

Twenty creative directors, planners, media strategists, and account executives from agencies across the country are down on all fours on the floor of a 100-year-old tenement on Manhattan's Lower East Side. They are each staring down at a blank poster-size sheet of paper, contemplating their most abject fears about their careers, their livelihoods, and their future. They have reason to worry. They are, after all, in the business of advertising.

This slight three-story brick building on the edge of Chinatown has been taken over by Hyper Island, a school based in Sweden renowned for producing the most coveted digital talent in the ad industry. That school is located in an old prison on the Baltic Sea, and students are taught that there are no boundaries when it comes to digital marketing.

Last summer, the Swedes at Hyper Island recognized that where there's panic, there's opportunity, and opened this New York branch. Like the many foreigners who settled in this downtown locale before, the school arrived with its own set of promises -- to drag the denizens of Madison Avenue into the 21st century. While its students back in Sweden are "digital natives," these elder New Yorkers are "digital immigrants," who have gathered for three days of hard-core immersion in dealing with the chaos digital technology has wrought on their industry. "Something digital immigrants would do," explains one instructor, "is make a phone call to make sure someone received an email."

Most of the men and women here -- average age: 38 -- have worked at agencies for more than a decade. Such tenure used to be considered an asset, but these days it's more of a liability. They're all well aware that coding is now prized over copywriting and that a résumé that includes Xbox and Google is more desirable than one featuring stints at BBDO or Grey.

Step one of their therapy, of course, is admitting there is a problem. In this room where Swedish pastries litter a couple of Ikea tables, they have been told that their first assignment is to "put [their] digital stinky fish on the table." So each supplicant finds some space on the floor and rolls out that big blank sheet of paper. Eventually, everyone writes something, and after a few minutes, the group gathers in a circle -- a safe space -- where one by one they voice their insecurities. The first person stands up. "I walk around in fear and loathing, dazed and confused," he says. Another confesses, "I'm a person who's petrified to fail." One by one, they exhale the cold fears of an entire industry: "I feel like I'm standing here and there are a thousand baseballs dropping from the sky and I don't know which ones to catch." "I left my cushy job at a global agency. Actually, I didn't leave; I was pushed out." "I kind of feel like the digital world is a gated world. It's wide open, but I don't even know enough to walk in." "This whole 'collaboration, we'll work together as a team' breaking down of the creative director and art director team -- I find it fucking difficult."

Depending on how you look at it, the next 72 hours are either a communal hazing or a primer on today's rules of marketing. Creative teams, the participants are told, now need to behave more like improv actors -- "story building" instead of storytelling -- so they can respond in real time to an unpredictable audience. Marketing actually needs to be useful -- "use-vertising" instead of advertising -- which means that you must think more like a product developer than an entertainer. While campaigns once promised glossy anthemic concepts, perfected before being shipped off to the waiting client, digital is incremental, experimental, continually optimized -- "perpetual beta" -- and never, ever finished. "Digital will fuck you up and the way your agencies are built to make money, staff things, price things," says the instructor. "You guys have to change your DNA, and you're going to have tough decisions." Later, there's an entire lesson on letting go of egos. Throughout the session, instructors remind the novitiates that these new rules are certain to change completely, and soon.

[ CHAOS ]

Like a beetle preserved in amber, the practice of advertising has sat virtually unchanged for the last half-century. Before 1960, ad making was a solitary practice. Copywriters toiled away on words to pitch a product, then handed them off to an art director who translated them into an illustration or photograph. Creative director Bill Bernbach (the B in DDB) changed all that when he recognized that pairing wordsmith and artist could spark genius. That simple move ignited the industry's creative revolution, raising the practice of advertising from sleazy salesmanship to some permutation of art.

The ad business became an assembly line as predictable as Henry Ford's. The client (whose goal was to get the word out about a product) paid an agency's account executive (whose job was to lure the client and then keep him happy), who briefed the brand planner (whose research uncovered the big consumer insight), who briefed the media planner (who decided which channel -- radio, print, outdoor, direct mail, or TV -- to advertise in). Then the copywriter/art director team would pass on its work (a big idea typically represented by storyboards for a 30-second TV commercial) to the producer (who worked with a director and editors to film and edit the commercial). Thanks to the media buyer (whose job was to wine-and-dine media companies to lower the price of TV spots, print pages, or radio slots), the ad would get funneled, like relatively fresh sausage, into some combination of those five mass media, which were anything but equal. TV ruled the world. After all, it not only reached a mass audience but was also the most expensive medium -- and the more the client spent, the more money the ad agency made.

That was then. Over the past few years, because of a combination of Internet disintermediation, recession, and corporate blindness, the assembly line has been obliterated -- economically, organizationally, and culturally. In the ad business, the relatively good life of 2007 is as remote as the whiskey highs of 1962. "Here we go again," moans Andy Nibley, the former CEO of ad agency Marsteller who, over the past decade, has also been the CEO of the digital arms of both Reuters and Universal Music. "First the news business, then the music business, then advertising. Is there any industry I get involved in that doesn't get destroyed by digital technology?"

Thanks to the Internet and digital technology, agencies are finding that the realization of their clients' ultimate fantasy -- the ability to customize a specific message to a specific person at a specific moment -- is within their grasp. It is also one very complex nightmare. After all, digital isn't just one channel. It's a medium that blooms thousands of other mediums. Brad Jakeman, who formerly led advertising at Citigroup and Macy's, says the explosion of platforms like search, geotargeting, the iPad, and mobile apps means fragmented media budgets and fragmented consumer attention. "The irony is that while there have never been more ways to reach consumers, it's never been harder to connect with consumers," explains Jakeman, now chief creative officer at Activision, the gaming company. The death of mass marketing means the end of lazy marketing. At agencies, the new norm is doing exponentially complex work. Think of the 200 Old Spice YouTube videos whipped up by Wieden+Kennedy in 48 hours. "Creating more work for less money is the big paradox," says Matt Howell, president of the Boston agency Modernista.

And the Internet has turned what used to be a controlled, one-way message into a real-time dialogue with millions. "Our power has been matched and, in some categories, rivaled by user influence," says Nick Brien, CEO of Interpublic Group's McCann Worldgroup, who notes that sites such as Engadget and Yelp can make or break a product. The opportunity for marketers is that instead of having to pay for their message to run somewhere, they can "earn" media for free, via consumers spreading YouTube clips, Groupons, and tweets as if they were trying to saturate their networks with photos of their newborn. Says Jon Bond, cofounder of Kirshenbaum Bond Senecal + Partners who left his agency last year to launch a startup: "Marketing in the future is like sex. Only the losers will have to pay for it." But the dark side of a transparent marketplace is that marketers have never had more of an opportunity to rub consumers the wrong way and be publicly skewered. The days of lathering on a brand message that a product may not live up to are long gone.

All of this has made life much more confusing for the client. At a time of shrinking budgets, chief marketing officers don't know where to turn. They have little confidence that old-world agencies know how to navigate the chaos, and they don't know which newcomers to trust. "It's the most treacherous job in corporate America, blamed for everything and credited for nothing," concedes Jakeman, who notes that the average CMO tenure is down to 22 months.

With clients in a tailspin, the very role of agencies is in question. Many CMOs are shunning "agencies of record" relationships -- the plum long-term, retainer-based deals that have been the bread and butter of full-service firms. After an agency review last year, Angelique Krembs, marketing director of PepsiCo's SoBe brand, opted to work with only shops that specialized in digital, PR, or promotional work, excluding all generalist firms. "I didn't see it as us ditching a creative agency. We were going beyond traditional," says Krembs, in words that can hardly be reassuring to the old line. "We realized it was unlikely we'd find everything we wanted in one place." That's apt to become the norm as a generation of senior marketers emerges from the digital side, rather than from classic marketing educations at P&G or General Mills. For example, the recently appointed president of marketing at Sears, David Friedman, was recruited from the digital agency Razorfish.

Squeezed by clients, agencies are also beset by a host of new competitors attacking from every direction. Technology companies have commoditized much of the "art" of that old assembly line. Producing an ad doesn't have to be an expensive multiperson affair these days, given that commercial-quality high-definition video can now be shot on cameras that cost less than $2,000. Consultancies like Accenture and Sapient are branding themselves as digital agencies. Tech titans like Microsoft, IBM, and Google are rolling out tools that replace agency analysis with digital measurements that can predict the best targets for a campaign and quantify its success. Google, arguably the industry's most polarizing frenemy, is helping agencies use its planning and analytics tools, while at the same time automating their media-buying jobs. "With infinite ad inventory on the Internet, you just can't have people do [media planning] anymore," says Dan Salmon, an analyst at BMO Capital Markets who covers advertising and marketing services. "It's now being done by a piece of software."

Technology startups also digitize away agency roles. MediaMath, DataXu, and X + 1 are racing to deliver automated ad-buying platforms; Buildabrand.com has reduced the branding process to an algorithm that produces customized logos in five minutes; Lotame is doing audience data management, which tracks every dollar spent and how it performs. Web 2.0 stars like Facebook and Foursquare are starting to work directly with brands, sometimes cutting agencies out of the conversation entirely.

The attack on the industry is also coming from agency expats. Former Crispin Porter + Bogusky exec John Winsor recently opened Victors & Spoils in Boulder, Colorado. Victors & Spoils has virtually no staff and "operates on the principles of crowdsourcing" -- currently the most vilified term in the agency world. Since its launch last year, Victors & Spoils has lured marketers at General Mills, Oakley, Virgin America, and Harley-Davidson, which just ditched its agency of record of 30 years. "Many agencies are hanging on to this idea that creativity is theirs to own and sell," says Harley CMO Mark-Hans Richer. "[Victors & Spoils] offered a great place to start versus sitting across from a creative who spent weeks crafting the perfect idea and gets upset if you want to change a word." Says Victors & Spoils chief creative officer Evan Fry, who's also a Crispin alum: "I think the new model is scary because all of us in the ad industry want to feel, at least from a creative point of view, that we have something no one else has. So if you're really good at it, you had to go to Creative Circus or Portfolio Center; you had to pay for it. Then you had to toil to get into a good shop. Then you had to get lucky to get on the good briefs. For someone to come out and say, 'We think a lot of people can offer great ideas' means, 'What, I'm not special?' "

For the enterprising client that can see clearly through the chaos, this new world holds promise. Kraft, for instance, has assembled a growing Rolodex of 70 new specialist partners. This isn't some fringe brand -- it's Kraft, the country's largest food marketer, which spends some $1.6 billion on marketing every year. The company is so open to new thinking that it recently hired a startup called GeniusRocket to develop a new campaign for the relaunch of its Athenos Hummus.

GeniusRocket is what an ad agency looks like when it's stripped of Madison Avenue skyscrapers, high-priced creatives on payroll, sushi dinners at Nobu, and two-week shoots at the Viceroy in Santa Monica. The firm is nothing more than a bare-bones website that crowdsources broadcast-ready TV ads from a pool of loosely vetted talent from Poland to Guam. A CMO accustomed to handing over millions of dollars to an agency for a campaign designed around a single spot can now hand GeniusRocket $40,000 -- and get seven spots, each of which will be syndicated on 20 web platforms for tracking, testing, sentiment analysis, and wide distribution. GeniusRocket gleans a 20% to 40% commission, and the rest goes to the creators. "It seemed like an interesting, cost-effective way to get some new creative ideas," says Marshall Hyzdu, the Kraft brand manager who hired GeniusRocket. "We fell in love with one spot.

"For an agency to be on the cutting edge, it must have heavy overhead," Hyzdu points out. "Versus GeniusRocket, which is a lean team focused on new ideas. I wonder if that becomes the new model." That kind of thinking sends shivers through the business. "I've gone to see all the big cheeses at all these big agencies, and the reaction to us tends to be in one of three buckets," says Mark Walsh, GeniusRocket's cofounder and CEO and a proud bottom-feeder. "If the executive is over 57, he says, 'Thank God I'm getting out of this business.' If they're in their forties, they say one of two things: 'You're Satan and you're out to kill me,' or 'You're Satan, but can you help me and not tell anybody?' "

"There's never been a better time to be in advertising," says Aaron Reitkopf, North American CEO of digital agency Profero, referring to the unbound possibilities of digital, "and there's never been a worse time." Reitkopf left his CEO post at Kirshenbaum Bond Senecal + Partners a year ago and spent some time visiting agency heads while figuring out a next step. "At the beginning of our conversations, they would put on a brave face, but once you began to quiz them about the future, the door would close in the office," he says. "They'd look at you and say, 'I can't possibly know what the future looks like.' " There's only one thing everyone agrees on, Reitkopf says, and that's that there is too much excess: too many people, too many of the wrong kinds of people, too much bloat, too much inefficiency. And this in an industry that has laid off more than 160,000 people in the past two years. "Ohhhh," nods Reitkopf, "the carnage is going to be awesome."

[ OPPORTUNITY ]

Surviving that carnage, of course, is the real reason people sign up for Hyper Island's grueling three-day sessions. "You go in there not wanting to admit you're an alcoholic and by day two, you're like, 'I am a little bit of an alcoholic,' " says Kevin Moehlenkamp, chief creative officer of Boston-based Hill Holiday. Moehlenkamp attended the inaugural U.S. class last fall, which was held for the industry's top creative execs. "Before, I was a bit of a creative elitist. I thought digital was just another medium." TBWA\Chiat\Day chief creative officer Rob Schwartz attended that same course. He remembers that the group of top competitors arrived with cautious bravado. "Everyone was arms folded, it was very tense, and there was a lot of nervous laughter," says Schwartz. "The room had a Twitter feed, but 70% of the room didn't know what Twitter was."

Moehlenkamp and Schwartz say Hyper Island pushed them from digital observers to participants. "Before, I felt open to the conversation, but I wasn't in it," says Schwartz, who admits he had even been afraid to blog. "What they teach you is that with digital and social media, either you're on the shore or you jump in. The class gave me the confidence to jump in." The 20-year industry vet started blogging and says he has discovered that data tools -- which creatives have always shunned as an enemy of artistry -- help him stay ahead. Above all, he does not want to be left behind. "My fear was missing out on what could be the next creative revolution," he says. "I was too young for Bernbach. I didn't want to miss out this time."

Many in the business do realize that this moment of unsettling disruption is filled with possibilities. "The headline is, we're on the verge of a creative revolution," says Brian Martin, a consultant who has spent more than 25 years in the industry. Advertising's first creative revolution happened soon after television went mainstream. Digital has reached a similar saturation point. "It's an exciting time, not doom and gloom," says McCann's Brien, who is charged with turning around the atrophying behemoth. "It unleashes creativity." You might even argue that the revolution is the agencies' to lose. "In our business, whenever there's a disruption, our clients need guidance," says Brien's boss, Interpublic Group chairman and CEO Michael Roth.

For three years now, Joe Grimaldi, the longtime chief of IPG-owned Mullen, has been trying to drive change at his agency. Mullen is a Boston-based 40-year-old traditional agency with 550 employees, clients such as Timberland and LendingTree, and a lukewarm reputation for its creative work. Grimaldi decided that his agency had to unlearn its bad habits and develop agile, flexible ones. "We want to be an interdisciplinary company with adaptability built in," says Grimaldi, an Italian immigrant raised in Queens.

Nothing has come easy. "We brought people in from the outside to lead digitally," says Edward Boches, who for years was Mullen's chief creative officer, "but they always tried to change us into a pure digital play. Then the ad types who wanted to do brands and big ideas would say they're jerks who dis us, who think we're dinosaurs." That was only the beginning of the misfires. "In the early days, digital was always an afterthought, so we didn't acknowledge the true cost," says Boches, with his thick-as-chowder Boston accent. "We sold wrong, we neglected to put digital-savvy people in our new business roles. Instead of building digital things that had utility, we approached it from a messaging mind-set and put messaging into the space. It took us a while to realize that project management in the digital space is completely different."

For years, the agency had been located in a palatial mansion outside the city. People were isolated in offices and by long hallways; different disciplines never crossed paths. Last summer, Grimaldi relocated the agency to an open office in downtown Boston. Now, social-media people, creatives, media planners, technologists, and user-experience folks are sprinkled next to one another at modular desks. And Boches has ditched the CCO title for something more nebulous -- chief social-media officer. "It's really hard, to be honest," says Grimaldi, who's trying to get his staff to thrive by having more points of view.

There are signs that Grimaldi is succeeding. Earlier this year, Mullen launched Olympus's new PEN E-PL1 camera following a new mantra: "Everything we launch, we launch for free first." The campaign, which included the first augmented-reality 3-D camera demo, helped increase year-over-year sales by 55%. Mullen had to lay off 100 workers during the recession, but this year, it has hired about twice that after some impressive client wins. The agency recently caught the industry off guard after being awarded the business of two extremely progressive social-media clients, Zappos and JetBlue. Says Marty St. George, JetBlue's SVP of marketing and commercial strategy: "I don't think any of us expected Mullen to win. But we all noticed through its pitch process that you couldn't tell who the creative people were from the media people or the planning people. They all finished each other's sentences, regardless of what we were talking about."

[ MONEY ]

St. George says the most surprising aspect of JetBlue's agency search was how many firms still believed that the key to solving any business problem was the 30-second spot. But maybe he shouldn't have been surprised. Agencies still yearn for the fat 15% commissions they used to score off of a client's media spend, a spend ballooned mostly by television commercials. The industry isn't even close to adjusting to the truism that digital dimes don't replace analog dollars, the very problem that bedevils music labels, publishers, and television networks. Today, agencies really have no clue as to how they should get paid. "We still don't know how to monetize what we do," admits Peter McGuinness, CEO of Gotham, which, like Mullen, is owned by IPG. "We don't monetize ourselves properly, so we don't hit our margins."

In many ways, the end of the rich old model is the agencies' own fault. In the 1980s, agencies decided they could benefit from economies of scale, as well as manage client conflicts of interest, by merging. Not incidentally, this trend also gave the agency owners a way to cash out. The result was an industry centered on four major holding companies: WPP, Omnicom, IPG, and Publicis. But the move has backfired. "Agency leaders were making more money than the clients," says Martin, the industry consultant. "That's when the clients began to realize, 'Gosh, we must be paying them too much.' "

Clients forced the agencies into a service-fee model instead, which is far less lucrative. "It's like lawyers," explains BMO Capital's Salmon. "The fees are based on head count and time spent working." Grimaldi explains why this is so much tougher than the old model. "If a creative team now takes six people instead of two, just think about the burn rate of that room," he says. "Unfortunately, not everything generates as much money as it used to. There are only so many hours you can bill." Now those hours are getting squeezed from every direction. The clients employ procurement officers and cost consultants to negotiate down the fee on everybody in an agency. And given today's hypercompetition, agencies can sink up to $1 million and four months pitching for a new account they might never win. "When the smoke clears," says McGuinness, "we make no money."

Given this madness, the agencies still cling to those expensive TV buys. Bob Garfield, advertising-industry pundit and author of The Chaos Scenario, says, "Agencies have worked out very complex compensation formulas, which are nominally fee based, but if you track compensation against media spend, you will see that the lines are parallel." The less a client spends on media, Garfield continues, the less an agency makes. Some agencies are scrambling to address this by reinventing their compensation structures. "We are paying the price of belonging to an industry that does not know how to protect its own interests," wrote TBWA Worldwide chairman Jean Marie Dru in an Advertising Age manifesto entitled "Endless Pressure on Price Traps Agencies, Clients in Death Spiral." "We are our worst enemies."

Virtually every CEO in the business is now railing for one of two solutions to the problem of, well, not making enough money. First, they want to be financially rewarded for performance, and thanks to all those new data-analytics tools, for the first time ever, their effectiveness can be measured. Says IPG chairman Roth: "We should get higher [compensation] if it works and lower if it doesn't. That's how this industry can return to the profitability level." It's a nice thought, but those tools aren't infallible: While Wieden's innovative Web campaign for P&G's Old Spice garnered tons of publicity, Ad Age speculated that the boost in sales may well have been due to a coupon.

Then there's the industry's biggest fantasy about compensation. "We have to figure out how to get paid for the big idea, and what that idea is worth," says McGuiness. What's a big idea? Something as ubiquitous as MasterCard's "Priceless" campaign that arguably could transform a business. "This is a holdover from 20th-century marketing," says Brian Collins, a former Ogilvy exec who now runs an innovation consultancy. "People who think that way are supremely well equipped to work in a world that no longer exists." Plus, as Garfield points out, "in the whole history of mass advertising, the number of transformative ideas that have created wealth via advertising you can count on one set of fingers and toes." Garfield sees this big-idea payday as the last wish of an industry that's drowning. "In a world where media spend is in inexorable decline, and where advertising per se is an endangered species, [agencies] don't know where to turn," he says. "The realization of the nightmare is under way. And that nightmare is the utter collapse of the business model."

[ ADAPTATION ]

In its fight for survival, the advertising industry is at war with itself. Generalists are competing with specialists. Interactive shops are vying to become full-service agencies, while traditional shops are yearning to become digitally integrated. "The Great Race," as Forrester Research dubbed it in March, drives a more intense competition over an already shrinking pie, and there won't be room for everyone. En route to the center, agencies are chasing one another to the bottom. "I spoke to a high-level CMO the other day," says Profero's Reitkopf. "She said, 'I work with a holding company's promotions company, its social-marketing company, its response-marketing company. Every time we're in the room together, it's fine, but the minute I walk out to get a cup of coffee, someone will follow me and tell me they can do what the other agencies do for cheaper." Adds Harley CMO Richer: "Agency networks supposedly combine all these experts together on your behalf, but it only really happens when the business is at risk of walking out the door. Before then, these creative entities are locked off in separate P&Ls. They're not built to solve clients' problems, they're built to satisfy individual P&Ls."

Publicis Groupe chairman and CEO Maurice Lévy admits this. "Historically," the Frenchman says, "one way to manage a holding company -- which still is the case for other holding companies -- is to stimulate each agency to compete with each other. The stimulation was about rivalry and competition within the same group. They felt that this was the best way to drive growth."

These divisions were exacerbated in the 1990s, when holding companies spun their media departments out of creative agencies into stand-alone companies, creating new entities such as Omnicom's OMD and WPP's Mindshare. The goal was to hold onto a client's media spend even if the client took its creative business elsewhere. But marketers like Johnson & Johnson's Brian Perkins are now begging media and creative shops to bundle back up. "When media and communications planning have become more important than ever," Perkins wrote in Ad Age this year, "why are our media agencies further (physically and philosophically) from the people who create advertising?"

Lévy is aggressively trying to bridge that gap. He recently created Vivaki, which is largely an internal effort to get its media agencies, Starcom MediaVest and Zenith Optimedia, to collaborate with its digital agencies, Digitas and Razorfish. The carrot he's employing is deeply traditional: a change in fiscal incentive structure. While each agency has its own P&L, the pay of top execs also depends on Vivaki's P&L of the combined companies. "In the beginning, it was a really hard pill for me to swallow," says Bob Lord, CEO of Razorfish, which was acquired last year by Publicis. "I built my career at Razorfish being the most aggressive, saying we can do everything for the client. Now it's supposed to be okay to say, 'Well, we are weaker in CRM, and we can learn from Digitas.' That's a hard thing for people to accept."

Of course, the willingness of Lévy and other holding-company CEOs to experiment is based on their continued belief that one-stop shops will outlive and even outpace any disrupter. "We have to be ahead of the curve in all areas," says IPG's Roth (who earned $6.3 million in 2009, down 40% from the year before). "We'll do it by investing in or partnering with these new types of companies and making them part of our offering." In other words, holding companies will ultimately do what they believe they do best: They will chase the next shiny object, hedge their bets with acquisitions, and perhaps make their already monolithic structures even more colossal.

Rosemarie Ryan and Ty Montague have a smaller vision of the future. Until June, the two were the North American copresidents of JWT, the WPP-owned behemoth, armed with a combined 40 years in the business. Then they quit. Montague and Ryan decided to build a new kind of marketing business with no old-world waste and inefficiency. Co, which Montague describes as "a brand studio built for 21st-century CEOs and CMOs," is a tiny group of consultants from the agency, technology, and business-strategy worlds that can "deploy the right team for the right action at the right time for the right outcome."

Its ability to scale up and tackle a wide range of client problems will come from the eclectic network of 44 specialist companies they've lured to play nice with them, from digital agencies like Big Spaceship to crowdsourcing firms like Victors & Spoils to bigger companies like McCann Worldgroup and Horizon Media, the largest U.S. independent media-services company. "We want to be as small as possible and as big as necessary," Montague says. "It's not about scale; it's about scalability. Even though we have only five employees, right now we have 1,500 people we can put against an opportunity." Says Bill Koenigsberg, CEO of Horizon: "Getting a piece of business doesn't mean they have to hire an army. There's a nice elasticity there."

Co's financial model is to be paid a retainer, a flat project fee, or equity, depending on its client; it does not get a cut of what its specialists bill. "We are, by its nature, helping to build businesses that we do not own," says Montague. Since it doesn't own any of those specialists, Co has no vested interest in treating a client's business problem with any particular solution. Its goal is to move from the ghetto of marketing into the world of pure problem solving, so Co plans to work with only clients who promise C-level access beyond the CMO. "The answer can come from marketing, but it can also come from R&D or product innovation or design," Montague says.

Earlier this year, technology observer Clay Shirky argued that "complex societies collapse because, when some stress comes, those societies have become too inflexible to respond." Societies like the Romans and the lowland Mayans fell because further reductions became too uncomfortable for those in power. "Collapse is simply the last remaining method of simplification," writes Shirky. After disintegration, he explains further, the members of a society disperse, experimenting with new ways of doing things. "When the ecosystem stops rewarding complexity," he writes, "it is the people who figure out how to work simply in the present, rather than the people who mastered the complexities of the past, who get to say what happens in the future."

Co may be an example of how the members of this collapsing industry could make it simpler and more logical. "I think all of it [the industry] needs to get smaller to get better again, on some level," says Ryan. Co may or may not succeed, but what makes its model so intriguing is that the company doesn't have to make a big bet on a single possible future. "I don't think anybody can look you in the eye and say, 'This is what the business will look like in 20 years,' " says Ryan. "If they do, they're lying." Co's only plan for growth is that its founders will hire other tiny teams of four or five people. In other words, Co's only growth plan is another pod.

That may be a vision for the industry as a whole. With all the defections of top agency talent over the past year -- Alex Bogusky from Crispin, Gerry Graf from Saatchi, Kevin Roddy from BBH -- it's easy to imagine a new advertising ecosystem of pods built around industry stars who have left their lumbering institutions behind. The holding companies will still exist, but around them could emerge a chaotic pattern of startups, independent talent, and connectors who thrive with minimum overhead. That kind of industry would be a fraction of the size of the current one. It would create opportunities for the most talented and hurt everyone else. It would be harder work, with fewer assistants and fewer million-dollar paydays. But this smaller business would be aloft on its new creative potential rather than sinking under the weight of its past.

[DISCUSS]

Tweet your answer to What is the Future of Advertising? by using the hashtag #adfuture and join the discussion about Madison Avenue. Go to advertwitter.fastcompany.com to read about everyone else's vision of the ad industry.

Marcadores:

Bookmark and Share

terça-feira, novembro 16, 2010

Bolsa perde 1,67% e fecha abaixo de 70 mil pontos com crise europeia

Bolsa perde 1,67% e fecha abaixo de 70 mil pontos com crise europeia

Da Redação, em São Paulo
Fonte: http://economia.uol.com.br/cotacoes/ultimas-noticias/2010/11/16/bolsa-perde-165-e-fecha-abaixo-de-70-mil-pontos-com-crise-europeia.jhtm

A Bovespa (Bolsa de Valores de São Paulo) fechou esta terça-feira em baixa. O Ibovespa (principal índice da Bolsa paulista) caiu 1,67%, aos 69.192,41 pontos, ficando aquém dos 70 mil pontos, o que não acontecia há mais de um mês, desde 7 de outubro, quando o pregão se encerrou aos 69.918,40 .

As perdas refletem principalmente a preocupação do mercado com a crise da dívida da Irlanda.

A cotação do dólar comercial fechou em alta de 0,93%, a R$ 1,74. Com isso, a moeda norte-americana atingiu o maior valor desde o dia 1º de setembro, quando era negociada a R$ 1,747.

Petrobras

A Petrobras quer se tornar a maior produtora mundial de petróleo de capital aberto até 2015, segundo afirma o diretor financeiro da companhia em uma entrevista publicada pelo diário britânico "The Guardian".

Segundo Almir Guilherme Barbassa, a companhia pretende mais do que dobrar sua produção na próxima década, para 5,4 milhões de barris de petróleo e gás por dia.

Na reportagem de página inteira, intitulada "Petroleiros do Brasil destinados a dominar", o jornal observa que a série de descobertas de reservas de petróleo na camada pré-sal "transformaram a sorte da companhia e catapultaram o Brasil em um dos líderes em energia e um dos motores econômicos mundiais".

Balanços

O Banco do Brasil (BBAS3) teve uma alta 32,7% no lucro do terceiro trimestre na comparação com o mesmo período de 2009, impusionado por uma expansão de dois dígitos na carteira de crédito.

O banco, maior instituição financeira do país, encerrou o terceiro trimestre com lucro líquido de R$ 2,625 bilhões. O resultado recorrente somou R$ 2,578 bilhões, expansão anual de 46,1%.

A companhia aérea TAM (TAMM4) teve lucro líquido de R$ 740 milhões no terceiro trimestre, alta ante o ganho de R$ 228,4 milhões obtidos no mesmo período do ano passado.

O lucro antes de juros, impostos, depreciação, amortização e leasing de aeronaves (Ebitdar, na sigla em inglês) somou R$ 975,2 milhões nos três meses encerrados em setembro, salto sobre os R$ 347,9 milhões na comparação anual.

Embraer

A Embraer (EMBR3), maior fabricante mundial de aviões regionais, disse nesta terça-feira que espera que a demanda chinesa chegue a 950 jatos regionais nos próximos 20 anos.

A companhia fez o comentário em uma previsão para o mercado chinês, onde as ordens para novos aviões devem subir na próxima década por conta do crescimento na demanda por viagens aéreas.

Bolsas asiáticas

As Bolsas da Ásia encerraram a sessão no território negativo, com a perspectiva de alta nas taxas de juros da China. Dados divulgados recentemente no país asiático revelam que o país enfrenta inflação. Os investidores temem também que o governo chinês adote novas medidas, com o objetivo de reduzir a oferta de crédito.

Marcadores:

Bookmark and Share

MSLGROUP and Egami Consulting Group Announce Urban Works: Urban Influencer 360 Panel Series

MSLGROUP and Egami Consulting Group Announce Urban Works: Urban Influencer 360 Panel Series

Strategic partner agencies gather influencers to discuss relevant topics to the urban community

Press Release Source: MSLGROUP On Monday November 15, 2010, 11:18 am EST

Source: http://finance.yahoo.com/news/MSLGROUP-and-Egami-Consulting-bw-1624995552.html?x=0

NEW YORK--(BUSINESS WIRE)-- MSLGROUP, Publicis Groupe’s flagship specialty communications, PR and events network, and its strategic diversity partner Egami Consulting Group have announced the launch of their Urban Influencer 360 Panel series. Launching the first session on November 16, the “Community” panel will focus on philanthropy in the urban community and how brands may engage urban consumers by effecting change through impactful cause and community marketing campaigns.

“Like never before, the urban community is being recognized as a critical component for marketing success,” said Teneshia Warner, CEO of Egami Consulting Group. “This event draws upon the strength of MSLGROUP and Egami’s unique partnership to provide a ‘pulse-check’ on urban culture and prepare marketers with the insights needed to create impactful cause marketing campaigns.”

The first panel is comprised of key community influencers in the urban market including Jenay Alejandro, Multicultural Relations, Moet Hennessy; Dupe Ajayi, External Affairs Manager, Taproot Foundation; Sabrina Thompson, Co – Founder, WEEN; Ellen Haddigan, President, RUSH Philanthropic; Erik Darby, President, Broad Cause and Katie McCue, Senior Vice President, MSL New York.

The community installment of this series will address the significant link between the urban community and cause marketing and analyze what is required for companies and brands to build successful productive relationships with community partners that target urban audiences. From the findings of this panel discussion, MSLGROUP and Egami will co-author a whitepaper to further educate the marketing and communications communities.

“Through our partnership with Egami, MSLGROUP has gained a unique ability to understand the urban market better and engage in real-time dialogue through unbound media channels,” said Caryn Carmer, Senior Vice President and Consumer Practice Director, MSL New York. “Leveraging our partnership with Egami to co-sponsor this series will provide valuable insight to the marketing community and create new opportunities for our clients.”

About Egami Consulting Group

Egami Consulting Group is an award-winning, WBENC and NMSDC, certified woman-owned minority marketing firm specializing in linking brands to urban and multicultural consumers via inspirational platforms. Founded in 2003 by Teneshia Jackson Warner, Egami provides brands ways to “INSPIRE”, “CONNECT”, and “ACTIVATE” consumers through innovative marketing campaigns, strategic partnerships, custom community programs, and/or new products. Egami leverages insights and it’s authentic connection to urban culture and multicultural audiences to create unique marketing strategies that ACTIVATE consumers. Egami’s marketing strategies have ranged from working with brands to raise youth voter awareness among urban consumers to integrating new urban products into a client’s portfolio of products. www.egamiconsulting.com

About MSLGROUP

MSLGROUP is a speciality communications and engagement group that’s one of the world’s top 5 PR and events networks. With more than 2,500 people, its offices span 22 countries and cover virtually every discipline required for clients to engage creatively with their audiences 24 hours a day. Adding affiliates and partners into the equation, MSLGROUP’s reach increases to 4,000 employees in 83 countries. The group offers clients strategic advice, insight-guided thinking and big, compelling ideas – followed by thorough execution. MSLGROUP is Publicis Groupe’s flagship PR and Events network. www.mslgroup.com

About Publicis Groupe

Publicis Groupe [Euronext Paris: FR0000130577] is the world's third largest communications group. In addition, it is ranked as the world’s second largest media counsel and buying group, and is the first global network in digital and healthcare communications. With activities spanning 104 countries on five continents, the Groupe employs approximately 45,000 professionals. Publicis Groupe offers local and international clients a complete range of advertising services through three global advertising networks, Leo Burnett, Publicis, Saatchi & Saatchi, and two multi-hub networks, Fallon and 49%-owned Bartle Bogle Hegarty. Media consultancy and buying is offered through the two first ranked worldwide networks, Starcom MediaVest Group and ZenithOptimedia; and interactive and digital marketing led by the two first ranked Digitas and Razorfish networks. Publicis Groupe launched VivaKi to leverage the combined scale of the autonomous operations of Digitas, Denuo, Razorfish, Starcom MediaVest Group and ZenithOptimedia to develop new services, tools, and next generation digital platforms. Publicis Groupe’s specialized agencies and marketing services offer healthcare communications with Publicis Healthcare Communications Group (PHCG, the first network in healthcare communications), sustainability communications and multicultural communications. With MS&L Group, the sixth PR and events network, Publicis Groupe expertise ranges from corporate and financial communications to public relations and public affairs, branding, social media marketing and events, sports marketing and events. Web site: www.publicisgroupe.com

Marcadores:

Bookmark and Share

quinta-feira, novembro 11, 2010

Wieden & Kennedy heads off to Brazil, with sports giant Nike in tow no doubt

Wieden & Kennedy heads off to Brazil, with sports giant Nike in tow no doubt

With a World Cup coming up (2014) followed by the Olympics (2016) it’s hardly surprising that Wieden & Kennedy, long-time agency for Nike, is heading off to Brazil.

The Portland-based agency is to open its eighth office in Sao Paulo headed by two native Brazilians, creative director Ica Doria from Goodby Silverstein in the US and account man Andre Gustavo Soares from Nazca Saatchi & Saatchi.

There are lots of other reasons to go to Brazil too of course – the ad economy is booming alongside that of the country as a whole and the region seems stuffed to the gills with creative talent. Agencies in Brazil also benefit from government restrictions on media buying which keep media independents out and margins up.

This is one reason why Publicis Groupe paid such a steep price for a 49 per cent stake in Brazilian agency Talent recently.


But with the World Cup and the Olympics around the corner W&K just had to be in the place where its biggest client will make its main marketing effort.

Marcadores:

Bookmark and Share

Rapp Collins reabre seu plano de aquisições

Rapp Collins reabre seu plano de aquisições

Agência perdeu a disputa pela AG2 para o Grupo Publicis, mas segue com propósito de fazer novas aquisições


Por Felipe Turlão M&M Online
10 de Novembro de 2010 às 15:51

Prestes a fechar o ano de 2010 com 25% de crescimento no faturamento, a Rapp Collins Brasil quer saltar outros 40% em 2011, ano em que completará 15 anos de mercado. Além disso, pretende seguir morro acima nos períodos subsequentes. Como forma de preparar o terreno para atingir esses objetivos, o CEO da empresa para a América Latina Abaetê de Azevedo elegeu dois pilares, que são um programa interno de treinamento de lideranças para capacitar os gestores e um plano agressivo de aquisições.

"Queremos abraçar tudo o que não for publicidade tradicional", afirma Azevedo. "Tudo o que for criar diálogo direto das marcas de nossos clientes com os consumidores está na mira", completa, citando segmentos em que está de olho, como marketing promocional e mobile. "A rede global da Rapp e o grupo Omnicom (segundo maior conglomerado do mundo, atrás apenas do WPP) já deram o aval para a nova estratégia de aquisições e esperamos fechar algum negócio entre o final de 2011 e o começo de 2012", adianta.

Hoje a Rapp brasileira, com seus 300 funcionários, representa o quinto maior escritório da rede em todo o mundo, mas os executivos do board internacional têm expectativas ainda maiores. "Eles se baseiam em análises que colocam o Brasil como país com as melhores condições dentro do Bric", diz.

Também não será surpresa se o grupo adquirir alguma empresa de publicidade digital, um segmento que já representa 50% do seu faturamento. Além disso, o brasileiro Ricardo Pomeranz é o diretor global de atividades digitais da Rapp.

Esse avanço sobre o mercado interativo, na verdade, quase ocorreu em 2008, conforme revela Azevedo. "Estávamos com o dedo no gatilho para anunciar a compra da AG2, que é uma empresa bastante complementar a Rapp. Seus escritórios em Porto Alegre e Pelotas nos permitiriam um custo de produção mais baixo. Mas o Omnicom acabou reprovando o negócio por conta da crise financeira que havia acabado de estourar", lamenta.

Depois disso a AG2 acabou indo parar nos braços de outro grande player global, o francês Publicis Groupe, que adquiriu 62% das ações e renomeou a operação como AG2 Publicis Modem.

A Rapp tentou, sem sucesso, comprar ainda uma empresa de marketing promocional, cujo nome Azevedo não revela porque ela não foi vendida e segue atuante no mercado.

Com a nova estratégia de crescimento amparada em aquisições, a Rapp Collins pretende enfrentar aqueles que Azevedo considera como seus dois maiores concorrentes: OgilvyOne e Wunderman, ambos ligados ao WPP. A ideia é retomar o mesmo movimento propulsor adotado no final dos anos 90, quando comprou duas empresas. Em 1997, fechou a aquisição da TBase, especializada em banco de dados, que foi incorporada e se tornou a Rapp Data. Três anos depois, anunciou a compra da Oficina Algorítmica, que se dedicava a mídias digitais que iam desde vitrines e quiosques até shows de laser, transformada em Rapp Digital.

Mas ao menos uma coisa importante mudará na nova temporada de aquisições. "Não faremos mais incorporações. Queremos construir um grupo de agências complementares", afirma Azevedo. Pelo novo modelo, cada empresa adquirida continuaria com sua independência, mas contando com o suporte das ferramentas da rede.

Marcadores:

Bookmark and Share

WPP still lags behind Publicis despite record growth figures

WPP still lags behind Publicis despite record growth figures

WPP is really firing on all cylinders now, judging by its latest quarterly figures which showed a like-for-like revenues increase of 7.5 per cent, its highest growth rate since 2000 and more than twice the revenue rise for the first half of the year.

Underlying revenues rose to £2.25 billion and the company, which owns the giant JWT and Ogilvy & Mather agencies among many others, has seen a like-for-like increase every month this year apart from a small drop in June.

Yet CEO Sir Martin Sorrell warned that this performance cannot go on for ever, and he’s particularly surprised by the figures from the US, which he says “is behaving more like an emerging market than a mature one,” with like-for-like growth of 9.3 per cent.

In other areas the growth patterns were more predictable. China and India led the field with revenue increases of 23 and nearly 15 per cent respectively while the UK was up 7.6 per cent, western continental Europe 4.7 per cent and the combined regions of Asia Pacific, Latin America, Africa and Middle-East and eastern Europe growing at 7.6 per cent.

It’s clear that with emerging markets now accounting for 30 per cent of WPP revenues, the group will be concentrating its efforts on those regions, where there is immense potential as millions of fresh consumers come into play each year.

So Sir Martin will be a happy man this morning, but for one small, or maybe not so small, niggle. He still hasn’t caught up with Maurice Levy’s Publicis Groupe’s growth rate, which yet again led the way at 9.2 per cent up for organic revenues earlier this month.

Still it just keeps another target in his sights and wards off any danger of him becoming complacent.

Marcadores:

Bookmark and Share

quarta-feira, novembro 10, 2010

10/11/10 - Morning Call

Bom dia! Vamos ao mercado:

Câmbio
- USD abre em alta frente demais Moedas - EUR 1,3772 / JPY 82,16 / BRL 1,6970
- China: Superávit Balança Comercial (out) US$ 27bi, acima dos US$ 25bi esperados e contribuem para discussões sobre desvalorização artificial do YUAN antes do G-20 (Seul 5a e 6a feira). Importações abaixo do esperado 25,3% versus 26,8%. Estimativa de Superávit 2010: US$ 180bi (Reuters)
- USA: em Carta ao G-20, país defende que forte recuperação interna é a maior contribuição à Economia Mundial

Juros
- Brasil: Inflação - IPC-FIPE semanal em linha com esperado 0,97% e mercado aguarda divulgação do IGP-DI (out)
- Juros abrem em alta 11,51% e discussões sobre atuação da Política Monetária etsão na pauta. Com a pressão inflacionária, quando o BC começaria a subir Juros?
- China: aumentou Complusório de Bancos em 0,50% a partir de 15 novembro. Em linha com medidas que países vem estudando/tomando para conter fluxo de entrada de capitais e potencial inflacionário.

Bolsas
- Ásia: queda antes do G-20
- Europa: queda importações chinesas abaixo do esperado
- Futuro S&P: leve queda -0,05%

Agenda
USA: 10:30 "Claims Semanais" de emprego

Bookmark and Share

Saatchi X abre escritório no Brasil

Saatchi X abre escritório no Brasil

Agência de shopper marketing será comandada por Regis Duarte, ex-diretor geral da OgilvyAction

Fonte: M&M Online

Por Alexandre Zaghi Lemos
09 de Novembro de 2010 às 09:26

O segmento de agências especializadas em shopper marketing começa a dar seus primeiros passos no Brasil, em busca de seu espaço em meio às demais disciplinas da comunicação mercadológica. Apontado como uma das principais frentes de crescimento do mercado para os próximos anos, o shopper marketing leva em consideração que não adianta mais perguntar ao consumidor quais são os fatores fundamentais para que ele opte por comprar determinado produto, e não outro. Existem muitas outras questões emocionais, que vão além das frias respostas de questionários, que podem influenciar e alterar o comportamento das pessoas na hora da escolha.

Um dos principais players globais dessa área acaba de anunciar sua chegada ao Brasil. Trata-se da Saatchi & Saatchi X, rede do Publicis Groupe, que tem 13 anos de vida, conta atualmente com 16 escritórios espalhados pelo mundo, nos quais emprega cerca de 350 pessoas, dedicadas a clientes como Procter & Gamble, General Mills, LG, Nestlé, Cadbury/Kraft, Mead Johnson, Disney, Sony, Novartis, Starbucks, America Movil e Visa. Suas metodologias e ferramentas prometem criar conexões emocionais com os consumidores, reduzindo barreiras com as marcas usuárias da disciplina.

A nova agência é uma iniciativa da rede global Saatchi & Saatchi e de seus sócios brasileiros na F/Nazca S&S – Fabio Fernandes, Ivan Marques e Loy Barjas. Apesar de inicialmente instalada dentro da F/Nazca e de compartilhar com a coirmã parte da estrutura e prospecção de clientes, as duas agências têm operações separadas. O modelo é semelhante ao já adotado pela Saatchi & Saatchi X na Argentina e no México.

Para dirigir a operação brasileira, a rede contratou Regis Duarte, ex-diretor geral da OgilvyAction para a América Latina. Duarte conta com passagens anteriores por HP, MLab e VisualPresence, antes de ingressar no Grupo Ogilvy, em março de 2009. Como diretor geral da Saatchi & Saatchi X Brasil, Duarte reportará a Adrian Farina, CEO da Saatchi & Saatchi X América Latina.

“Shoppers tomam decisões a todo o momento no PDV. Nessa tomada de decisão podem existir questionamentos ou dúvidas que se convertem em barreiras de compra. Nosso trabalho é eliminar essas barreiras através de um profundo entendimento do que é realmente importante para os compradores e desenvolvermos programas de shopper marketing, transformando a intenção de compra em uma ação de compra”, resume Duarte. A agência oferecerá aos anunciantes serviços que incluem o entendimento das atitudes do consumidor, planejamento estratégico e execução criativa e de design.

A Saatchi & Saatchi X é a segunda rede global de shopper marketing a chegar ao Brasil. Em fevereiro foi anunciada a parceria da brasileira Ponto de Criação com a Interger, rede do Grupo Omnicom especializada em shopper marketeing (leia mais aqui).

Marcadores:

Bookmark and Share

Leo Burnett aponta colombiana para liderar AL

Leo Burnett aponta colombiana para liderar AL

Olga Lucía Villegas, presidente da Leo colombiana, ocupa um dos cargos deixados por Renato Loes. A presidência da operação brasileira segue vaga


Fonte: M&M Online

Na busca por um novo CEO para a operação brasileira, cargo vago desde a saída de Renato Loes para a presidência da Dentsu, a Leo Burnett já resolveu pelo menos um de seus problemas: indicou Olga Lucía Villegas, líder da operação colombiana, para encabeçar a rede na América Latina, cargo que também estava sendo ocupado por Loes.


A diferença em relação ao que vinha sendo feito até então é que o escritório brasileiro, que tem o vice-presidente de criação Ruy Lindenberg como presidente interino, se reportará diretamente à rede global, sem passar por Olga.

Marcadores:

Bookmark and Share

Facebook fica com um em cada 4 anúncios na web

Facebook fica com um em cada 4 anúncios na web

Rede social mais popular do planeta tem mais do dobro de impressões do que o Yahoo, segundo colocado, nos EUA

Fonte: M&M Online


Com o avanço do número de perfis pessoais cadastrados em seus domínios – já são mais de 500 milhões de usuários –, o Facebook vem fazendo os outros grandes players da internet comer poeira. No terceiro trimestre de 2010, aproximadamente um em cada quatro anúncios no formato de display visualizados nos Estados Unidos estavam expostos em páginas do Facebook.


As estatísticas fazem parte de um estudo da comScore (analista especialista em mídia online). Ao todo, o total das impressões foi de 1,284 trilhão – aumento de 22% em relação ao mesmo período do ano passado. Não são computados pela pesquisa os anúncios muito pequenos, em vídeo ou publicados nas páginas das próprias empresas.

Sozinho, o Facebook registrou 23,1% das impressões de displays na web americana, um incremento vigoroso frente aos 17,7% registrados no segundo trimestre.

O número se torna ainda mais impressionante quando comparado ao share do segundo colocado na lista, o Yahoo, que ficou com 11% das visualizações – ou seja, menos da metade do registrado pelo Facebook.

Mais: o índice do Facebook é superior à soma dos quatro concorrentes posicionados logo abaixo do campeão das redes sociais (Yahoo, Microsoft Corp, Fox Interactive Media e Google).

Apesar do crescimento no share de visualizações, o Facebook ainda não transformou seus inigualáveis números em dinheiro. Em relação a receitas, o Yahoo mantém o primeiro posto com folga, com 15,4% do bolo, de acordo com o eMarketer. O Facebook ocupa a segunda posição, com 9,5% de share.

Os analistas ressaltam que os anúncios no Facebook são vendidos com um desconto expressivo em relação aos displays de portais com uma história mais longeva na internet. O CPM para displays de anúncios do Facebook está em torno de US$ 1. Nas páginas do Yahoo, o CPM fica em torno de US$ 3. Mas é provável que os valores do Facebook tenham um reajuste para cima, com o aumento da percepção que os perfis do Facebook são um alvo mais acurado, por oferecerem uma óbvia segmentação a partir das preferências de cada usuário.

Share de impressões de displays na web americana – 3° trimestre 2010

1° Facebook - 23,1%

2° Yahoo -11,0%

3° Sites da Microsoft - 5,0%

4° Fox Interactive - 3,8%

5° Sites do Google - 2,7%

Os cinco maiores anunciantes da web americana (em impressões de displays)

1° AT&T Inc. - 1,6%

2° Scottrade - 1,2%

3° Verizon Communications - 1,1%

3° Experian Interactive - 1,1%

5° Progressive Corporation - 0,7%

Marcadores:

Bookmark and Share

Direto ao ponto: China deve levar Ibovespa a subir, mas rumores podem pesar

Direto ao ponto: China deve levar Ibovespa a subir, mas rumores podem pesar

Por: Julia Ramos M. Leite
10/11/10 - 06h29
InfoMoney

SÃO PAULO - Na última sessão, rumores envolvendo o novo governo e o sistema financeiro acabaram derrubando o Ibovespa, que perdeu o patamar dos 72 mil pontos.

No final do dia, o Banco Panamericano - alvo de especulações sobre sua possível quebra e uma intervenção do Banco Central - anunciou que o Grupo Silvio Santos, seu acionista controlador, realizou um aporte de capital de R$ 2,5 bilhões.

De acordo com o comunicado do banco, o objetivo é "restabelecer o pleno equilíbrio patrimonial e ampliar a liquidez operacional da instituição, de modo a preservar o atual nível de capitalização, em virtude de terem sido constatadas inconsistências contábeis que não permitem que as demonstrações financeiras reflitam a real situação patrimonial da entidade".

Na visão de um analista entrevistado pela InfoMoney que não quis se identificar, a concretização ou não desse rumor deve ser o principal driver do dia. "Se isso acabar não se confirmando, a tendência do Ibovespa é de alta", explicou.

Por outro lado, uma falência em um banco "não tão pequeno" como o Panamericano poderia pressionar a bolsa devido a apreensão gerada, em especial os papéis do sistema financeiro, como aconteceu na terça-feira.

O gigante em foco

No mercado internacional o foco deve ser um só: a China divulga uma bateria de indicadores na quarta-feira, como preços ao consumidor e ao produtor e produção industrial, deixando a agenda dos EUA, que traz o Trade Balance e o Treasury Budget em segundo plano.

Assim, caso os rumores acerca do sistema financeiro e também da transição do governo mostrem-se infundados, a China pode ajudar o Ibovespa a subir - em entrevista recente à InfoMoney, a economista da XP Investimentos, Fernanda Camino, lembrou que os números mais recentes do gigante asiático agradaram o mercado, e a tendência era que fossem o driver da semana.


Bookmark and Share

terça-feira, novembro 09, 2010

09/11/10 - Morning Call

Bom dia! Vamos ao mercado:

Câmbio
- Críticas ao QE2 (Novo Programa de Compra de Ativos Americano US$ 600bi)
continuam antes da reunião do G-20 5a e 6a feira (Seul): China ressalta
risco de desestabilização global. Alguns analistas estão céticos quanto a
resultados concretos do encontro.
- Preocupações com défict de Países da Zona do EUR voltam ao radar e
contribuem para alta do USD frente demais ativos. EUR 1,3912 agora
- BRL agora 1,6955

Juros
- Brasil - Inflação - IPC-A out 0,75% acima dos 0,67% esperados
- DIs sobem na abertura Jan12 11,47%
- Inglaterra: Produção Industrial (set) alta 0,40%, idêntica à agosto

Bolsas
- Ásia: queda com realização de lucros e preocupações com déficit na Zona
do Eur
- Europa: alta impulsionada por Resultados Corporativos acima do esperado
- Futuro S&P: leve alta +0,12%

Agenda
USA: 13:00 Wholesale Inventories (estoques do atacado)

Bookmark and Share

segunda-feira, novembro 08, 2010

EUA saem do horário de verão; veja o que muda nos mercados

EUA saem do horário de verão; veja o que muda nos mercados

A Bolsa de Nova York passa a operar das 12h30 às 19h (horário de Brasília)

Gustavo Nicoletta, da Agência Estado

SÃO PAULO - Os EUA saíram do horário de verão na madrugada de domingo, atrasando seus relógios em uma hora. Com isso, Brasília passou a estar três horas à frente da Costa Leste (Nova York e Washington) e quatro horas à frente de Chicago.

Também mudaram os horários de abertura e fechamento dos mercados financeiros. A Bolsa de Nova York passa a operar das 12h30 (de Brasília) às 19h (de Brasília). No viva-voz da New York Mercantile Exchange (Nymex), os contratos futuros de petróleo passam a ser negociados das 12h (de Brasília) às 17h30 (de Brasília).

Na Comex, divisão de metais da Nymex, os contratos futuros de cobre passam a ser negociados das 11h10 (de Brasília) às 16h (de Brasília) e os contratos futuros de ouro, das 11h20 (de Brasília) às 16h30 (de Brasília).

Bookmark and Share

08/11/10 - Morning Call

Bom dia! Vamos ao mercado:

Câmbio
- Mercados iniciam semana com queda de ativos frente o USD, após
valorização da semana passada
- Imprensa global registra críticas sobre QE2 na semana que antecederá
Reunião do G-20. Segundo Estadão, países preparam documento aos USA
exigindo abandono de medidas prejudiciais à economia mundial.
- EUR: cai a 1,3917 (agora) com colta de preocupações com défict de países
de região.
- BRL agora 1,6933

Juros
- USA: HSBC revisou crescimento do PIB 2011 de 2,80% para 3,20% - QE2 tende
a surtir efeito positivo em 2011. Por outro lado, há razões para cautela no
que se refere, entre outros, a gastos com consumo
- Pesuisa FOCUS: sem alterações IPC-A 2011 4,99% e Selic 2011 11,75%
- Brasil: 8:00 - IPC-S 0,67% acima dos 0,56% esperados e Dis sobem na
abertura 11,42% Jan12
- Brasil: 10:30 Anfavea

Bolsas
- Ásia: queda do índice, exceto no Japão que atingiu a máxima em 3 meses,
expectativa com afrouxamento monetário anunciado semana passada
- Europa:queda com realização de lucros
- Futuro S&P:

Política
- Brasil: especulações, ainda sem definições, sobre formação de Ministérios
do Governo Dilma tendem a continuar

Agenda
USA: não há dados relevantes
China: 5a feira - série de dados importantes - Inflação, Produção
Industrial, Vendas no Varejo

Bookmark and Share
Copyright © 2002 / 2014 HorusStrategy.com.br. Horus Strategy é marca registrada. Todos os direitos reservados.