Chipotle’s Unbranded Entertainment Marketing Coup … Farmed & Dangerous

chipChipotle did something radical last month. The company introduced its very own TV series, airing on Hulu. The first three 22-minute shows in the four-episode comedy series, titled “Farmed and Dangerous,” are now available for viewing.

It’s another example of the Mexican restaurant chain challenging industry convention. In 2012, it picked up the Cannes Grand Prix for its animated “Back to the Start” two-minute music video, which ran to a Willie Nelson cover of Cold Play’s “The Scientist.” That ad promoted the story of Chipotle’s locally farmed ingredients.

“Farmed and Dangerous” takes branded content to another level by not including any branding at all in the show. Social Media Week organizers dubbed it Unbranded Entertainment. Chipotle and other advertisers placedcommercials in the show, but by not including branding in the show itself, the restaurant has taken a risk that few marketers would entertain.

But Chipotle’s chief marketing and development officer, Mark Crumpacker, said on a panel at Social Media Week, in which I participated, that he didn’t consider it a big risk at all. Citing McDonald’s significant marketing budget, which dwarfs his company’s, he said Chipotle couldn’t afford to rely on traditional advertising. The hope is that PR, buzz and social media will do much of the heavy lifting for the chain’s message.

This is an interesting, albeit untested, new broadcast model for marketing. We’ve already seen Netflix and Hulu create premium original content online to compete again broadcast and cable networks. Chipotle’s concept is to create an own original entertainment show that somehow presents its messge while it shares in the income of ads being placed on the show by other companies.

This model makes sense, of course, only if the right target audience, specifically Millennials, watches the show. What does the show have to do to succeed?

First, it has to be genuinely entertaining. Wisely, I think, “Farmed and Dangerous” is a satire. The lead character,Buck Marshall, played by Ray Wise, is head of the Industrial Food Image Bureau. Wise’s character represents big-business interests that attempt to put a positive spin on genetically engineered foods.

Second, the show must have a message that connects with audiences. The serious message here is about the importance of food safety and sustainable farming. These are issues that Chipotle has championed from the start and are a concern for a growing section of the population. Chipotle reasons that as more people are discussing these issues, more of them will choose its brand.

Third, the show needs to walk a fine line between offering pure entertainment and overtly pushing the brand. Cross that line, and marketing savvy Millennials will turn off. Chipotle has chosen not to make references to the brand in the body of the show.

Twenty-two minutes of content and no burritos in sight. Only a handful of brands would attempt this. But, get the mix of story and message right, and you have content that consumers will want to watch, talk about and share.

Maserati in the Super Bowl … A good idea?

Here’s What Maserati Could Have Bought Instead of That Super Bowl Ad

Published in Ad Age on February 11, 2014

maserati

Maserati’s spectacular Quvenzhane-Wallis-narrated Super Bowl commercial has had its share of fans and detractors alike, from agency creative chiefs to armchair critics. So did it prove to be a good media strategy for the Ghibli sports sedan?

A 90-second ad in the Super Bowl went for probably around $11 million. Add to that the production of the spot, the Yahoo home-page takeover, the USA Today cover wrap, paid search and digital display advertising, and it feels like a cool $16 million to $17 million for the week’s media buy. I’ve always been a fan of Super Bowl advertising, but this buy didn’t make sense to me.

If you’re Coca-Cola, which sells over 350 million bottles of Coca-Cola across the country, with just about everyone watching the game a potential consumer, it’s smart business to be in the country’s biggest advertising event. But for a luxury auto manufacturer hoping to sell a far smaller number of units, it seems, well, a luxury. Just 9 seconds of the 90-second spot involved a car visual or sound, with only the last 3 seconds revealing to viewers what the brand was. It’s hard to see this as a wise use of money.

But I hear the counter argument: “It’s generating awareness.” “The comments on Facebook and tweets on Twitter.” “People are clicking to its website.” So why not a Super Bowl Ad?

Creating awareness is a good thing. But doing this at the top of the marketing funnel is an expensive proposition. Many other marketing considerations go into converting a prospect into a buyer. Many more people are aware of Ferrari than, say, Mitsubishi, but that awareness doesn’t equate to more units sold.

Any auto dealer will tell you that selling cars is a 52-week-a-year proposition. Has Maserati got the budget to follow up a big week with sustaining advertising support for the other 50 weeks? General Motors does.

Maserati, part of Fiat Chrysler, did see some impressive increases in searches on AutoTrader.com and Kelly Blue Book after the Super Bowl spot ran. I’m guessing that these came off very low bases. Social-media mentions were also high. So they seem to have gotten the brand into the conversation.

One big surprise about the Maserati spot was the fact that no one saw it coming. No pre-event buzz. No spot on YouTube or Vimeo before the game. Ad Age’s piece showcasing the ads in advance didn’t have it. This felt like a miss for Maserati. The Super Bowl isn’t just a media buy, it’s a marketing event, of which brands are an indelible part. Perhaps the agency team felt it had to do something to stand apart from the rest. However, with 12 other automotive advertisers appearing in the Super Bowl, I would have worked harder to find a way to distinguish the brand.

Paying for the most expensive spot with the highest production values, in the most competitive automotive media event, doesn’t strike me as what a challenger brand — which it claims to be in the ad — should do. Kudos for Maserati’s boldness, but its money could have been spent a lot more imaginatively and responsibly.

As an aside, here’s what $16 million to $17 million dollars could buy in other media:

52 full-page ads in The Wall Street Journal and Financial Times

60 double-page color spreads and a load of premium digital placements in Forbes

Every ad in the New York Times tablet app for six months

6,000+ spots on CNBC

2-minute spots on the Oscars, the Golden Globes and the Grammy’s

A 30-second spot every hour in prime time on CNN, MSNBC, FOX News and Al Jazeera America for four months

A national 12-month deal running 90-second spots throughout on cinema

Every promoted Tweet to the entire U.S. Twitter base for 85 consecutive days

<adage_no_lookbook_links>or 10 home-page takeovers on Yahoo, AOL and MSN.

It’s Time to Shift the Focus from Mobile to Mobility

Let’s Stop Thinking About Mobile Just as a Channel or Tactic and Move on to a Bigger Idea

Published in Ad Age.com January 29, 2014
mobile
In an industry that’s obsessed with tapping into the Zeitgeist, we talk about mobile as though it’s the bright and shiny new object in marketing. Are we kidding? This year, smart phone penetration in the United States will hit 80%, tablets will overtake sales of PCs, and already about half of online traffic is taking place on the mobile web. Come on marketers … consumers and manufacturers are way in front of us. Let’s kill off talk about developing a mobile plan. Our marketing plan needs to be our mobile plan … and so too do our communications.

It’s Mobility, Not Mobile. Mobile is primarily about the devices and platforms, but mobility is a bigger idea. Mobility is very much at the heart of culture right now. It is about fulfilling consumers’ desire to stay constantly connected and helping people to get tasks done on the move. Mobility in marketing is going beyond mobile advertising, to adding mobile functionality and targeting across your marketing efforts, such as how Chipotle’s mobile app helps to facilitate dining on the go by allowing you to order and pay for your burrito on the way to their restaurant to avoid the wait. Instead of allocating a separate budget to mobile alongside other media channels, we should be applying mobility solutions to our print, video, search, out of home and website. For example, how many of us have plans to add voice navigation to our website? My bet is that consumers are going to respond to added mobility in your marketing programs as they have to mobile devices … super-fast.

All Media is Digital. All Digital is Mobile. Thankfully we rarely separate digital from non-digital media plans anymore. Your digital strategy is your media strategy. In the same way, we have to stop putting mobile in a silo. A number of media companies are leading the way. According to the New York Post, about a third of its audience (print and digital) is coming from mobile devices. Over 65% of Twitter’s growing ad revenue comes from mobile ads on smartphones. Little wonder that Instagram, SnapChat, Flipboard and Waze, whose platforms have mobility at the heart of their proposition, were the hottest and fastest growing media this past year. VH-1 showed that it was able to grow its prime-time television viewing audience by 34% by improving the mobility of its shows and content. It made available full episodes through a mobile app, which also included extended content encouraging audiences to share with their social circles.

Mobility is Shifting Hyper-Local to Hyper-Location Marketing. Patch’s demise at the hands of AOL was a blow to pundits of hyperlocal. But mobility solutions are creating far more granular targeting and brand engagement. Savvy companies like PlaceIQ and 4info have mapped out the country and can provide location-based marketing (standard and rich media banners as well as video) based on where you go and where you’ve been. Apple’s iBeacon went live early this month in 200 Safeway and Giant Eagle supermarkets and could revolutionize the in-store experience. Using low-frequency Bluetooth technology, it creates GPS-like utility in the store itself that is able to pinpoint to within a few feet a shopper’s location through his smartphone and prompt him with special offers as he navigates the store.

Mobility is Fueling Intelligent Marketing. Mobility is paving the way for more intelligent marketing by utilizing the data it collects. FourSquare is somewhat re-inventing itself as a decision-recommendation engine for users and an insight resource for marketers accessing location data they have collected. The Weather Company is using its data to help retailers plan and even forecast sales. For example, based on weather patterns The Weather Channel knows that in Chicago, beer sales increase when summer temperatures are below normal three days in a row, whereas, in Dallas people buy sunscreen and bug spray in the spring when the dew point goes down. Mobility could inform an entire marketing communication strategy.

Mobility isn’t about what’s happening with devices and setting aside budgets for mobile advertising, but how you bridge mobile to real-world marketing. Exciting times ahead.

@antonyyoung

Marketers Can Learn Plenty from Media Brands

Originally published in Advertising Age December 10, 2013

Marketers are used to holding all the power, while media owners scramble for dollars amid all kinds of disruption. But the smartest brands actually need to study their media partners and in many cases follow their lead.

Media brands operate in arguably the most competitive marketing arena. A cable network competes with 250 other brands for attention. Digital-media brands like Yahoo, Hulu and Facebook — once upstarts and disrupters themselves — are seeing shiny, newer upstarts invade their hard-won turf. Consumers switch brands at the click of a remote control or mouse. As businesses, their market share is tracked and measured in a matter of hours, rather than months.

But even with limited marketing budgets, media brands are improvising and making the most of their unpaid media options first. Here are some lessons we can draw from media brands:

Think like a publisher. The Daily Mail has become the largest newspaper website globally by perfecting its own brand of news and gossip, with bold use of visuals and clever search tactics to drive traffic to its site — and encourage its circulation around the web. The Huffington Post has become highly adept at creating interactive content, receiving over 7 million reader comments a month. Both have built their success on the back of some of the lowest-cost models in the business. This is something brands can emulate.

Of course it helps to have a news hook, such as a new product introduction — another area where all marketers can learn from media. In the months leading up to FX‘s “American Horror Story” premieres, TV viewers were teased with short, episodic flashes of unexplained, weird glimpses into the showcoven. Viewers were left puzzled and uneasy, but primed to want to see the show.

 

Create cultural moments. Maybe it’s easier said than done, but consider it your ambition. Rather than rely on advertising in other people’s events, BBC America created its own event when promoting “Dr Who: Day of the Doctor” last month to coincide with its “Doctor Who” 50th anniversary.

BBC screened a cinema 3-D simulcast in 11 cities and made sure to be highly active on social media. On Tumblr, 14.5 million views were registered on the BBC America “Doctor Who” page; Twitter saw 1.83 million tweets.

anchorman 2.jpgThe network promoted all of this on and off channel, creating celebrity spots online that in turn inspired spoofs. One came from Will Ferrell’s Ron Burgundy character from the forthcoming “Anchorman” sequel, another media-business case study in overachieving on marketing spending.

 

Innovate in social media. Eight of the ten most-liked Facebook brands, excluding celebrities, are media brands, and Fox’s “Family Guy” has over 50 million “likes.” Cable networks, however, have led the way in innovation of social-media platforms. MTV worked with Twitter to originate custom interactive experiences for its Video Music Awards, like an MTV Twitter Tracker site that encouraged viewers to tweet about VMA celebrities by expanding and shrinking the stars’ photos as corresponding Twitter waxed and waned. The network also created Hotseat — a seating chart of the theater that showed where celebrities were tweeting from during the broadcast. By clicking on a seat, viewers could see a celebrity’s real-time Tweets.

MTV can usually count on a Miley Cyrus kind of moment to drive social media chatter at the VMAs, but it does everything it can to get in position before that moment arrives.

Make the most of strategic marketing partnerships. Clear Channel’s iHeartRadio streaming music service has built an impressive brand amid a seas of alternatives. It’s achieved this partly with the muscle of Clear Channel’s radio stations, but also with the spectacle of the iHeartRadio music festival, album-release parties, exclusive artist content and partnerships with major media, technology and auto companies.

With so many alternatives to their products available instantly, media companies have not choice but to get their marketing right. Let’s emulate their best examples.

A Review of Malcolm Gladwell’s David & Goliath: Underdogs, Misfits, And the Art of Battling Giants

… And What Brands Can Learn from his latest book

An edited version of this appeared in Advertising Age on October 23rd, 2013

david

Malcolm Gladwell made a valuable contribution to marketing with his book The Tipping Point, which got us to think about how brands catch fire and the power of influencers.  Remarkably, despite being published over 11 years ago, it still ranks #1 on Amazon’s best sellers list among advertising books, and #2 among marketing books.

So I was curious to review his latest effort, David & Goliath: Underdogs, Misfits, And the Art of Battling Giants [Little, Brown and Company, Hachette Book Group] to see if this might evoke an epiphany for me in the business.  For those expecting a marketing textbook, they might be left wanting.  No such cases studies of how Hush Puppies shoes was able to become cool again.  In fact, I sense Gladwell has become too famous to pander to us simple marketing folks.  His book showed less research, rather many stories – dozens’ of stories from the far past to modern day.  Mostly, they are stories of everyday individuals who have overcome extraordinary disadvantages or adversity.  For example, David Boies, who became a brilliant attorney despite his dyslexia.  There was also an account on Wilma Derksen and how she dealt with the violent murder of her thirteen year old daughter.

As advertisers, we love stories.  We love them, because we remember them.  They cause us to identify with the message at a personal level.  And such is Gladwell’s craft of storytelling that they provide a persuasive medium to get his ideas across.

The story I was particularly drawn to was of Vivek Ranadivé, an Indian national working in Silicon Valley, who decided to coach his twelve year old daughter’s basketball team.  He grew up a fan of cricket and soccer, and didn’t know the rules of basketball.  The girls on the team were daughters of nerds and computer programmers and were often overmatched by opponents that were taller and who were much more schooled in basketball skills.  Yet he devised an unconventional strategy and an approach that took his daughters team to the national championships.  Gladwell described Ranadivé as “an underdog and misfit, which gave him the freedom to try things no one else had dreamed of.” 

So what can brands can learn from David And Goliath?

 

Changing the Shape of the Battle.

Playing by the same rules as the established brands is a losing proposition.  When Ranadivé’s daughter’s basketball team played their opposition’s game plan, they lost.  This was the lesson I took, when the Cosmopolitan hotel in Las Vegas needed to promote themselves against bigger, better known hotel properties.  Instead of competing with the noise, they created a sophisticated campaign for a sophisticated traveler promising a smaller more intimate experience.  The hotel continues to command some of the highest room rates on The Strip.  If you have the same strategy as another brand that’s outspending you 2-1, then you simply will lose.

 

The Act of Overwhelming Odds Produces Greatness and Beauty.

Being a David brand is so much about attitude.  Gladwell described how David Boies and Wilma Derksen talked about not accepting the inevitable.  So what if the establishment brands have bigger budgets, more resources and wider distribution.  Having judged at the Effie Awards, the campaigns that overcame the odds made the most compelling cases.  Sometimes the best ideas have come when our clients have challenged us to develop a media plan with no budget.   Dove’s global brand director, Fernando Machado briefed his agencies with exactly that task, out of which Dove’s Sketches campaign evolved.  (Oh, and by the way, they found budget to support it as so often clients do when confronted with great thinking.)

 

Substituting Speed and Surprise for Strength.

Bigger firms have scale over challenger companies.  But with scale, comes complexity in organizations to make decisions and act on them.  David brands can succeed by seeing opportunities early and gain an edge by securing them faster.   Urban Outfitters gained kudos for being the first major brand to employ Vine.  I’ve written in the past about Adaptive Marketing, and how marketers such as Interscope Records to Obama were able to move quicker to win in the marketing stakes.

 

Gladwell’s David and Goliath deserves to be on your bookshelf or Kindle library if only to remind you that success is so much more sweeter when beating the odds.

 

 

ANA CMO’s: It’s Not About Social Marketing. It’s About Marketing in a Social Era.

An edited version was published in Ad Age on October 8, 2013

Bob Liodice (CEO ANA), Olivier Francios (CMO Chrysler, Fiat N.A.)

ana 2ana 3

The ANA annual meeting is our TED Conference for brand marketing.  It’s a forum to bring big ideas to the fore that serve to inspire us to think and act bigger.

To me, if there was one overarching idea from last week’s conference, it was this notion that Social has flipped from being marketing candy, to being a central core driver to a brand’s strategy.  That when marketers discuss Social, it’s not really just about the tactics they’re employing on a Facebook, Twitter, Vine or Snapchat.  Social is being owned by the CMO, and is now becoming the engine that’s powering substantial market share driving campaigns for grown up brands.

Google’s North America President Margo Georgiadis, on the first morning’s breakfast started the ball rolling citing that a remarkable 24 of the top 100 brands have had a viral video on YouTube already this year.   Ms. Georgiadis implored the need for marketers to create content instead advertising.  She heralded brands that are inserting themselves into social moments of the day, citing Pepsi’s Jeff Gordon’s Harlem Shuffle spot that hit 7 million views and importantly delivered topical street cred for them.

Well of course, you’d expect the Pepsi’s and Coca-Cola’s to tap into the social zeitgeist.  Joe Tripodi didn’t disappoint sharing how their marketing team in Australia personalized Coke Cans and bottles with 150 first names showing that content can come in many forms including a products packaging.  This helped reconnect the brand to reconnect with millennials by increasing its social currency, growing consumption by 7%.   But what really impressed the audience was Olivier Francois, Chrysler’s CMO, presentation that showed how Social was powering the automotive makers overall approach to marketing, and with that a helped a remarkable revival of the company’s brand that just five years ago was in near ruin.  He unveiled at the conference Ron Burgundy/Will Ferrell as Dodge’s newly appointed spokesperson and the shooting of some 67 spots that will no doubt be the backbone of an integrated television and social program that is sure to build a lot of buzz.  He exhibited that this was more than just a one-off.  The Clint Eastwood voiced Imported from Detroit Super Bowl half-time spot for Jeep and the edgy work for Fiat, shows that the automotive company has institutionalized Social by Design as its go-to marketing play book.  Mr Francois claimed that Jeep is now the strongest growing automotive brand in the country.

As much as CMO’s cling onto ROI, and advocate data informed decision making, what became apparent is that unlocking social media magic is much more art than science.  There is a fine line between Social gold and YouTube obscurity.  In a moment of refreshingly candidness, Mars’ Debra Sandler revealed they had made two potential Snickers spots for the Super Bowl, and at the last minute despite some concerns expressed internally, made the call to run the Betty White spot.  The spot stole the show at that year’s Super Bowl and created a social media storm and Snicker bars flew off the shelves.  I doubt the campaign would have gained such fame if they went with the Aretha Franklin spot.  And I thought it big of Tony Pace at Subway to admit that he initially rejected the idea to create a competition, dubbed #ProjectSubway to have designers create outfits made of recycled Subway waste.  The 70 million impressions they garnered through earned media, illustrated to me that Social is about putting the ideas back in the forefront, something that I’m excited about.

There was much discussion on Purpose based marketing.  Consumers and employees are increasingly valuing brands doing the right thing.  Promoting this is a tricky proposition. Step over the line, and credibility could be lost.

ConAgra’s initiative to raise awareness and help counter the 17 million kids in America that don’t know where their next meal is coming from was clearly a personal passion project for their CMO, Judy Chow. But when she convinced the company that it fit the food manufacturer’s corporate mission, it became a more substantial program internally and externally.  Their efforts on the ground, at retail and through content provided the stimulus for consumers to build a more positive opinion of the brand.  As Ms. Chow demonstrated it also helped the business too.  USAA’s Roger Adams proffered that authenticity is even more important in a world of social media.  “Building opinion, builds trust.  Building trust builds advocates,” he aptly stated in his presentation.

So what were the lessons I took away from the ANA’s top marketers in 2013?

  • That social isn’t just a single channel or a tactic … it’s increasingly a core principal behind the marketing strategy.  Having a campaign idea that’s Social by Design offers so much more strength to the marketing effort.
  • Social’s success is being measured by overall marketing metrics.  Sales.  Brand opinion. Reach and Impressions.  Not just follows or likes.
  • That the CMO is owning Social, not the social team.
  • Content over advertising.  That’s shifting how the media and communications need to be planned.
  • Judgment and ideas are probably going to be more important than logic and data for the time being.
  • Integrating paid with the owned and earned, not the other away around is the new hierarchy.

To summarize, the top marketers are demonstrating, that it’s not about social marketing.  It’s really about marketing in a social era.

A Small Upstart to Oversee Ad Agencies (NY Times – August 25, 2013)

Craig and Antony WCG

http://www.nytimes.com/2013/08/26/business/media/a-small-upstart-to-oversee-ad-agencies.html?_r=0
Craig Woerz, left, a managing partner of the Water Cooler Group, and Antony Young, who will become its president.

By STUART ELLIOTT
Published: August 25, 2013

A WELL-KNOWN senior Madison Avenue executive, Antony Young, is leaving the biggest agency holding group for one that, if not the smallest, is certainly the newest.

Mr. Young is becoming president of the Water Cooler Group, which is being formed to be the parent of four agencies — Bolt, Hip Genius, Maude and Media Storm — that specialize in tasks like media planning and buying, social media, creative and content development and interactive television. Clients of the agencies in the new holding group include Connecticut Tourism, Food Network, Fox Sports 1, FX, Major League Soccer, MLB Network, MTV, Open Road Films, TV One, Viggle and WE tv.

Mr. Young’s hiring is to be formally announced on Monday by the principals of the Water Cooler Group, who say the new agency holding company has been in the planning stages for more than a year. The Water Cooler Group will have offices in New York, where Mr. Young will be based, and Los Angeles.

Before joining the Water Cooler Group, Mr. Young held top posts at Mindshare, a media agency owned by the GroupM division of WPP, which is the world’s largest family of agencies — at least until the completion of the merger, announced last month, of the Omnicom Group and the Publicis Groupe to form the Publicis Omnicom Group. Before his work at Mindshare, Mr. Young held a top post at Optimedia, part of the ZenithOptimedia Group division of Publicis.

“I’ve spent a lot of my career in giant holding companies,” Mr. Young, 48, said in a phone interview last week. “Joining the Water Cooler Group is a zag,” he added, as in zagging when everybody zigs.

“What Mindshare and GroupM are doing is some of the best work in the marketplace,” Mr. Young said. “But there are clients — and, frankly, agency people — who are looking for something different, an alternative,” he added, particularly on a smaller scale than the giant media agencies that keep “getting bigger.”

Mr. Young and his new colleagues hope that one of those alternatives will be the Water Cooler Group. The name was chosen, said Craig Woerz, a managing partner at both the Water Cooler Group and Media Storm, to invoke a holy grail among marketers: stimulating conversation, word of mouth, buzz and social sharing among consumers, a k a the water-cooler effect.

“We’re trying to be a challenge to the big-agency model,” Mr. Woerz said. “Antony came through and really blew us away. I felt I was talking to myself a little bit. He shared our entrepreneurial mind-set and had a big-agency background but is not set in the big-agency way.”

Mr. Woerz, 42, founded Media Storm in 2001 with Tim Williams, who is also a managing partner at Media Storm and the Water Cooler Group. With Mr. Young’s arrival, Mr. Williams, 56, will move into a nonexecutive role, Mr. Woerz said.

Another executive, in addition to Mr. Young, is joining the Water Cooler Group from the outside: Chassar Howell, 35, as managing director for strategy and ideation; he previously was managing partner at the New York office of Naked Communications.

Other senior managers at the Water Cooler Group include Benson Hausman, 44, as executive director for marketing and development; he has worked for agencies that include KraftWorks, Kirshenbaum Bond Senecal &amp; Partners, Leroy &amp; Clarkson and Lipman.

Mr. Hausman was “our first Water Cooler Group employee,” Mr. Woerz said, as he was hired while the company was being planned.

Mr. Young’s arrival at the Water Cooler Group is the most recent job switch for a senior agency executive in a spate of such changes. Most of those moves have involved executives who specialize in creative work, but there have also been some top managers of media agencies in the mix — including a previous change for Mr. Young, who was named last month to a worldwide business development role at Mindshare after serving since September 2011 as chief executive for the Mindshare operations in North America.

The Water Cooler Group joins the ranks of smaller agency holding groups that also include MDC Partners and Project WorldWide. They are dwarfed by the likes of WPP, Omnicom, Publicis, the Interpublic Group of Companies, Dentsu and Havas.

And the big keep getting bigger: according to the trade publication Advertising Age, the Publicis Omnicom Group would own three of the world’s five largest media agencies, including the four largest media agencies in this country.

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