The Commonwealth Bank of Australia recently launched its new brand position: 'Can'
Despite being half a world away, I’ve been paying attention to the big re-brand of Commonwealth Bank Australia (CBA) that seems to be the talk of the media and communications town in Australia at present – the biggest re-brand in the banking sector since NAB’s ‘Break up’ campaign.
Following a teaser campaign around the word ‘Can’t’, the CBA unveiled its new brand position of ‘Can’; a campaign including print and TV advertising, social media across its Facebook and Twitter accounts, a dedicated website, a mobile banking app called ‘Kaching’ (previously launched), and a pretty cool augmented reality app launched in conjunction with News Limited newspapers.
Certainly a busy week for the organisation after last week being named as one of the top 100 global brands in the 2012 Millward Brown BrandZ report.
Given the scope of the re-brand and the allocation of transmedia resources to bring it to life, I believe there are some early observations for marketing and communication professionals from the interview – even at this early stage.
1. ‘Traditional’ media are far from dead.
Yes, we’ve all read the posts from doomsayers claiming that the end is near for our beloved TV and print media. While traditional media are undergoing their own unique evolution and expansion into the social and digital spheres, dollars and creative strategy are still being utilised in the traditional spaces as part of integrated, cross-platform campaigns.
2. Hit all the touch-points.
Connected consumers want to engage in their platform of preference, and on their terms – and brands need to plan and execute their outreach and engagement accordingly. It was great to see CBA CEO Ian Narev blog about the new brand position and share it across the bank’s social channels. Communication is now transmedia – and you don’t have to be a traditional media monolith or gatekeeper to produce stories and play in the space.
3. Tell a story (or multiple stories).
Again, we’ve all read the posts about the importance of storytelling. It’s nice to see a brand the size of CBA come out and put “lifestage stories being told through Facebook” (Mumbrella quote) as part of its strategy. In a recent episode of his Six Pixels of Separation podcast, Mitch Joel interviewed Jonathan Salem Baskin about the importance of truth in marketing. In short, people relate to people – and I hope the CBA takes the opportunity to tell some real stories that add to the TV commercials that outline the products, services and calls to action that encompass ‘Can’.
4. Don’t be afraid to innovate (and measure).
While not all businesses will have the budget of CBA, the CBA/News Limited/Explore Engage collaboration is an interesting example of exploring new media innovation in the context of current media trends (in this case, second screen experiences) to reinforce and drive home a brand message and integrate with the traditional, social and mobile marketing and communication strategy and tactics.
That is, CBA ‘Can’ bring the newspaper to life, literally! More than that, it can measure just how much its consumers use this piece of innovation. As Scott mentions in the interview – hardcore innovation and ROI is no longer a gimmick – it has arrived.
Again, while we’re yet to see the figures and results of this piece of innovation, it’s worth observing how this progresses, and thinking about how your own brand can leverage innovation and trends to communicate your story and message, and measure accordingly.
So, while it’s still early days for Commonwealth Bank and ‘Can’, there’s plenty for marketers and communicators to keep their collective eyes on as this brand positioning evolves and the results start to come through.
I look forward to seeing the team at CBA prove to Australia that they ‘Can’.
What do you think?
Have you been paying attention to the launch of ‘Can’? If so, what do you think of CBA’s efforts to date? What have you taken from the positioning so far?
I was reading through Kathi Kruse’s post on 10 surefire ways to fail at Twitter this week when I found myself faced with the great dilemma: to continue following or unfollow?
Allow me to elaborate.
I’m a HUGE fan of a particular consumer brand’s content marketing. It produces exceptional content that is entertaining and continually resonates with the audience – I find it captivating, even mesmerising at times.
It also does a great job of sourcing content from its community and incorporating it within its efforts, and invests a great deal in getting out and about on the road with its consumers.
So, why would I press the unfollow button?
In the years that I’ve followed, mentioned, tweeted and blogged about the brand, I’ve not received one reply. In fact, the only reply I received was from a local store that stocks the brand after I posted about it (an excellent piece of real-time marketing and communication – hat tip David Meerman Scott).
I don’t know if I’m being over-sensitive or expecting too much of the brand here, but after all the mentions and shout-outs, it makes me wonder how much they care.
In this case, my contributions would relate directly to ‘social’ and ‘self-esteem’ needs. That is, belonging to a community and being recognized accordingly for those contributions.
The strange thing is, even if I do unfollow the brand on Twitter, I can’t bring myself to unlike it on facebook; such is the quality of its content and posts in this space. Even if the posting is more representative of a straight broadcast model of content distribution without replies or discussion, I find myself unable to turn away.
Does that make me a social media hypocrite? Can I continue to advocate for community but still like a brand that hasn’t responded to my calls for engagement and fulfilled my hierarchy of needs?
More importantly, what does that say about the relationship between content and community?
In an ideal scenario, I believe in the power of content and community to work together to achieve business and communication objectives. With regard to social tools, these can range from driving sales to servicing and supporting clients with questions and issues that may arise before, during and after the purchase process or product development.
Now I’m not privy to this particular brand’s marketing plan and KPIs, but it may just be that broadcasting posts across facebook, email and including strong calls to action in both is driving more traffic and sales than it planned for, and that its in-person events are a spectacular success.
However I can’t help but see this as a missed opportunity for the brand (and others who employ the same strategy) – an opportunity to build an organic community of connected bloggers, evangelists and consumers willing to help spark that next rave about the brand, and to support it through the good times and the bad.
An opportunity to connect even deeper with the people behind the brand and extend the experience more than before, and to grow product use, knowledge and sales further.
The problem is, while tools exist to monitor and evaluate leads, calls to action and sales for this marketing content, it’s harder to measure the value of missed opportunities.
Then again, when it has fans like me willing to subscribe to its feed and purchase its products despite the lack of response and community engagement (yes, I’ve tried a purchase boycott but failed dismally), perhaps it doesn’t factor into the strategy and resources.
Only time will tell whether this is a sustainable strategy for the brand.
Should I press the unfollow button?
What do you think?
Is content alone a sustainable marketing and communication strategy for ongoing growth without community?
Am I being a social media hypocrite by championing community but supporting and subscribing to a brand that doesn’t actively respond to or acknowledge me?
The opening panel gets underway at the inaugural Advertising Age Social Engagement / Social TV conference
It’s been almost two weeks since I had the opportunity to attend Advertising Age’s inaugural Social TV conference in New York – and my head’s still spinning.
As is often the case with these conferences, it’s hard to describe the depth of each session, but for those who couldn’t attend, and who have an interest in this space, I wanted to put together an overview of the main sessions and big points that I took from each (you can also find a Storify of the event by Mo Krochmal over here).
The importance of being real-time and incorporating research were reinforced in this panel discussion, particularly in relation to brand advertising in the Social TV and application space.
That is, brands need to understand that the use of Social TV applicationss is on the rise, with real-time engagement an opportunity to drive interaction and business. This requires an understanding of how your target market is searching for and talking about your brand.
For production houses (and networks), Social TV is already being thought of at the production level – something that the panel believed will only increase moving forward, to the point where Social TV will (if it already doesn’t) require its own programming strategy. Will we see Social as another integrated component of the production houses’ and networks’ annual up-front presentations?
With advertisers now demanding full integration across social activity leading up to and during broadcasts, the answer may very well be yes.
As for users and viewers, the panel believed that co-creation was the next evolution in this space – although scaling this kind of production will be a challenge to make this a reality.
Kay gave a great presentation entailing the move of the (social) web from following the wisdom of crowds to the wisdom of friends – claiming that friend to friend discovery on social networks drives more value than your average campaign.
Facebook has its own Social TV Opportunity Activation
Or, to use Mark Zuckerberg’s words – people (the audience) are the most powerful media.
With that in mind, he encouraged networks and production companies to give due consideration, and leverage the opportunity to use social and digital assets not only during broadcast, but before and after programming – citing the upcoming series return of Dallas as a great example to extend the viewing experience (the show’s Facebook page already has 665,000 fans before the return on June 13).
He reinforced the idea that Social TV deserves its own individual programming strategy where the content is king – something Facebook is paying particular attention to with its Social TV Opportunity Activation (where facebook + content = Social TV). A great example of this was the partnership between Facebook and Pepsi at the recent Cricket World Cup in India.
The next trend/challenge to watch out for? Marketers utilising engagement and insights from Social TV to begin to inform the programming narrative and direction.
Right from the start, the panel highlighted that social buzz about television is now pulling audiences to television from their second screens – with spoilers a particularly effective tool driving live viewing as opposed to time-shifted consumption.
In the case of CBS, they are seeing 15 percent of their web traffic derived from social platforms – a statistic that contributes to views, advertising and money.
Screen shot of the CBS Connect page
More than that, the network has launched CBS Connect, a hub for conversation surrounding viewers’ favourite CBS shows.
From the agency perspective, David noted that only 10 percent of his clients are currently buying space in social and Social TV (apps, pages etc) – a statistic he expects to increase.
The challenge ahead? To begin to measure and investigate the relationship between Social TV and ratings. That is, does correlation equal causation with regard to social buzz and viewers? And how does time-shifted viewing then factor into this equation?
I guess we’ll have to wait and see.
5. Leveraging Social Media to Connect Talent, Fans and Brands
MTV and VH1 are two networks that have adopted the ‘storytelling without borders’ approach – planning shows with social engagement factored into every step of the process, and continuing the storyline between seasons and episodes.
As Kristin described it, they are a 24/7 media company.
The networks have introduced a social media education program for their talent (something I think we’ll see more and more of) with great results.
Mob Wives star Drita D’Avanzo was one of the first to partake in the program, and has launched herself into the social space, and at the time of writing has more than 317,000 followers.
With its talent as trans-media storytellers, the network is now taking the opportunity to break the confines of individual program episodes to simultaneously tell and extend multiple stories at one time.
As Kristin put it, they’re employing social media and technology to make good content great.
6. Transforming the TV Experience with Social Engagement
Bonin and Amanda shared a great example of partnership and integration in the Social TV space, with Kraft’s Wheat Thins executing a highly unconventional (but exceptionally entertaining) integration with The Colbert Report. For an excellent clip and interview with Amanda discussing the campaign check out this video from Beet TV (embedding disabled).
So, what are Bonin and Amanda’s tips for Social TV and social business success?
Ryan underlined that although there are a number of skeptics in the Social TV space, the area will continue to grow and thrive.
In particular, he described filtering as the future – with smart players in the space such as Breakingnews.com already paying attention to as they curate content of value (a point also highlighted by Steve Rubel in his inaugural Clip Report covering the evolving mediascape).
This final panel echoed Ryan’s sentiment and called for brands to provide value by cutting through the noise with curation and information.
For younger audiences, they will grow up demanding, and indeed already demand connectivity and the extended social viewing experience, and will migrate to the largest screen available. In that regard, the meaning and definition of the second screen is still a work in progress.
At the heart of this is the viewer experience. Pro-wrestler Zack Ryder’s organic communication with fans was cited as an example of engagement that talent and networks should look to emulate.
With regard to advertisers and partnerships, it’s about scaling these kinds of experiences in a bid to establish and maintain partnerships and drive even more value from Social TV initiatives (an example being the original programming partnership between the WWE and YouTube).
Some best practices for Social TV campaigns from Digital Flash NYC…
Give people a creative call to action. When managing a campaign, you’re like the DJ at a party – it’s your job to direct and fuel the party with music,
Set realistic expectations. Do your homework up-front and manage expectations accordingly, and
Find ways to channel the passion of fans and demonstrate that you ‘get it’. If you do, they’ll give you the right to follow through and interact with the campaign and program.
Thanks to Advertising Age and Digital Flash NYC for putting on these events, and to all the speakers for their insights and time.
Thoughts on the design aside, what followed for the club serves as an important reminder for communicators and community managers about the importance and power of connecting with and acknowledging your community offline.
One of the most noticeable changes to the jersey was the switch of logo to the Liver Bird that adorned the jersey back in the club’s glory days of the 70s and 80s – omitting the twin flames of the previous logo which represent the memorial that burns in honour of those 96 fans that lost their lives in the Hillsborough tragedy of 1989 – one of the darkest days in the club’s history.
These flames and the number 96 have been moved to the back of the jersey for next season’s kit.
While the club promoted and followed buzz surrounding the jersey among the online community using the #LFCkit hashtag, it was the reaction of the families of the Hillsborough disaster that sparked anger offline, and threatened to envelop the club in a PR disaster.
It was claimed in this BBC piece that while the Hillsborough Family Support Group were consulted about the proposed changes to the jersey, no individual family members of those who lost their lives at Hillsborough were consulted, and neither were members of the Hillsborough Justice Campaign – who claimed the actions of the club to be “insensitive, divisive and deplorable.”
Although the club moved promptly and with transparency to defend its consultation process and reinforce its respect for the 96 who lost their lives and their families, the incident highlighted an important lesson for communicators.
That is, in a world of increased connectivity where we are all networked, it is just as important to pay attention to, and consult the community offline, as well as online.
In a panel discussion at Blogworld New York 2011, Gary Vaynerchuk called on brands and attendees to wholeheartedly embrace the feedback and voice of the online community. After all, if someone is saying something about you, wouldn’t you like to know, and wouldn’t you like the opportunity to address their concerns?
While I agree one hundred percent, this example serves as a reminder that brands need to remember and acknowledge that their communities exist in real life (IRL), as well as virtually.
Moreover, there are some scenarios in which consultation IRL is the appropriate way to communicate – and that failing to do so threatens to damage the reputation of the organisation in the domain of traditional and social media, with each potentially feeding the other.
Yes, brands and organisations now have the gift of community that comes with utilising the plethora of social and connected platforms available, but these communities and methods of communicating should not be at the expense of in-person communication and the maintenance and consultation of a physical community IRL.
Communities exist offline and online.
What do you think?
How do you balance connecting your community virtually and IRL? Are there any other case studies you feel add to this area and are worth acknowledging?
The team at AMC's Mad Men have gone back in the show's timeline - giving brands a reminder of the great opportunity that the tool brings.
A few weeks ago I watched on facebook as the team over at AMC’s Mad Men added a host of images and events to the show’s timeline.
For those who haven’t checked it out, the added content includes pictures and plot from every episode, as well as major awards and milestones for the show.
In essence, it tells the Mad Men story – and is a great resource that I’ve sent my friends who are just catching up on the series to check out.
Why should media organisations (and other brands) care?
Because with tools like timeline, the past is just as important as the future in creating content that connects and resonates with an audience, and communicates where you’ve come from, and where you’re going.
Without getting too meta on you by citing Mad Men within a Mad Men post, but I think Don was on to something in this video (sadly not available to embed). That is, timeline is a way to put your history on show and allow others to identify with your thoughts, products, culture and values – and in doing so take them to a place in their own story that they identify with.
To quote Mr. Draper: “Technology is a glittering lure, but there’s the rare occasion when the public can be engaged on a level beyond flash – if they have a sentimental bond with the product.”
The question is: What’s your story and bond with your audience?
For media companies and brands, I’m sure this is just the start of what will be some great innovation and use of this tool as audiences engage and invest socially in characters and stories more than ever before (are we going to see major events and exclusive pictures of Dick Whitman and the other Mad Men characters appearing on the timeline soon, perhaps? Maybe some images and clips from the past exclusive to timeline?).
Hearst Corporation is another example of a media company doing a great job of this with its magazine portfolio.
Nice work and kudos to the team over at AMC – I look forward to seeing what comes next (or should I say what came before) in the timeline (insert Mad Men opening theme).
What do you think?
Do you have any favourite examples of brands telling a story and utilising timeline? What about their story and content resonates with you, and why?