Despite widespread industry doubt that commercial ratings will be used as currency in the coming upfront, several major buyers and sellers all concurred Tuesday that the soon-to-be-released data would serve as the basis for upfront guarantees. One of the buyers--Starcom CEO John Muszynski--revealed that his agency actually did three deals based on a form of commercial metrics in last year's upfront, likely minute-by-minute ratings. And he intends to push aggressively to make commercial ratings the standard this spring. "I have every intention of doing that this year," he said at the annual TV forum hosted by the ANA. Muszynski also said he would like to do at least one experimental deal that goes deeper, and negotiate a guarantee based on second-by-second data with a "select player or two." That would allow a marketer to gauge an individual commercial's performance at the extreme granular level. Group M's chief investment officer Rino Scanzoni said there was "no doubt" that commercial ratings would be in play this upfront. ABC's President of Sales and Marketing Mike Shaw said his door is open, and he was eager to do some deals last year involving commercial performance, but no agencies were set up to do it. (Muszynski objected--saying Starcom was, although Shaw said the Chicago-based agency's ABC deal didn't include any of those metrics.) "Nobody was in a position to take us up on it," Shaw said. Buoying Shaw is evidence that a high percentage of viewers stay tuned through its ad breaks. He also said ABC would be introducing five tactics leading into the breaks aimed at continuing tune-in. Those tactics will be unveiled to buyers today at a development meeting ABC is conducting in Los Angeles, although no details were offered. (Turner last week proposed a similar initiative and other networks have moved in that direction.) Nielsen is expected to begin releasing the commercial-ratings data in May, just before the upfront negotiations begin. If the industry decides to use them as a currency, a period of analysis could delay the deal making. It has been widely speculated that commercial ratings wouldn't make an upfront appearance until 2008. Commercial ratings can take various forms, from the average rating of all commercials in a program, to ratings for individual spots (a preference for marketers). Another hot-button issue: how to value commercial viewing when done in time-delayed fashion via DVRs. Shaw said he expects ABC to make deals on a variety of metrics (perhaps three or four different ones) this spring, with commercial ratings just one. Others would be based on an assortment of gauges for ROI and ad performance. Turner's Advertising Sales President David Levy indicated that buyers want commercial ratings--and his company, which includes TNT and TBS, would look to oblige. "We will accept the change and negotiate accordingly in this upfront," he said. Cable sellers have had some objection to using the new ratings data, due to issues involving whether local avails can be separated from national commercials. But Levy said if the local spots can be pulled out, Turner would likely be on board. One heavy-spending client and commercial-ratings advocate, Andrew Jung, a senior director at Kellogg, was asked Tuesday whether his company would refrain from doing deals without commercial-ratings guarantees. He stopped short of an all-or-nothing threat. "We could. but I think it's more of an industry issue," he said, citing an imminent need for the buying-selling community to adopt the standard. In a speech, Jung said 92% of top ANA members want the new ratings. "Will the industry wake up and listen because the voice is getting a lot louder?" he said. "Without this change I'm not sure how long TV can be sustainable." What emerging media would be sold in the upfront along with traditional spots? Shaw said the broadband streaming of ABC shows on its Web site would probably be included, although VOD and wireless aren't likely, since the network is still trying to determine what inventory is available. Turner's Levy said broadband would be on sale at Turner--although product placement wouldn't, since those deals require such long lead times mandated by script reviews and production schedules. Group M's Scanzoni is eager to purchase broadband in the upfront: "Consumers are more engaged; they tend to recall the commercials better," he said. So far, the dominant ad model for online streaming has been short pre-roll ads, although some networks such as the CW are employing mid-roll spots. Muszynski called for using strong metrics for online consumption--knowledge about how many people visit a site and how much time they spend--to develop a similar gauge for TV, thus providing greater accountability data. "Let's take a look at what we've learned from the digital space and apply that to the more traditional media," he said. While supportive of commercial ratings, ABC's Shaw suggested that another ROI-centric metric be employed: sales results. He said his network would like to be held accountable, based on whether sales figures experience a bump post-ad broadcast, but marketers refuse to share the data. To be sure, there would be other factors that could influence a sales jump, but marketers' bottom lines would be enriched, nonetheless. As for the yearly upfront question--whether the bazaar will continue to exist--Scanzoni said it would be around in 2107. "I think the upfront will be around for the next 100 years."
The proposed online system for buying and selling TV time is better off DOA, according to four top buyers and sellers. While several agency executives, including PHD's Steve Grubbs and Zenith's Peggy Green, have taken high-profile positions in favor of it, one of Green's fellow buyers under the Publicis flag blasted what's known as the eBay Media Marketplace. "To take us back to a pure commodity exchange is a waste of time," said Starcom CEO John Muszynski at the ANA TV forum Tuesday. Critics of the system--which has support from a committee of both top agency executives and heavy-spending marketers--have charged that it commoditizes buying and selling and moves away from the traditional face-to-face, deal-making process--which has become more crucial in the age of complex, multi-platform deals. But advocates like PHD's Grubbs have said it's aimed at facilitating more run-of-the-mill buying, freeing up time for the multi-tiered deals. (It's possible that agency executives' relationships with certain clients that favor the system have an influence over their positions.) Muszynski's position about the potential for commoditization--he said his agency has fought hard to develop partnerships with the sales side and the eBay system could slow that momentum--was interesting, since it's an argument advanced mainly by network executives. ABC's President of Sales and Marketing Mike Shaw reiterated that stance Tuesday. However, the buyers and sellers Tuesday did indicate that a system facilitating cumbersome back-room operations and helping trim costs there could be viable. The committee backing the eBay system is seeking cable networks to engage in a test of selling inventory. It has provided them with a pilot version to review, hoping they will sign on. One of the sellers the committee is targeting is the Turner group, given its TNT and TBS outlets. Turner is still evaluating the proposed system, but its ad sales president David Levy said: "From what I've seen so far, this is not the answer." Group M Chief Investment Officer Rino Scanzoni also said he was opposed to the system, on grounds that it doesn't allow for complex deals. David Grubb, Microsoft's global media director and a committee member, said recently there are no plans for the system to impede the "hand-crafted, high-touch level of negotiations" in the marketplace.
General Motors has chosen Clear Channel Radio for a combined radio and online campaign to promote the 2007 Chevy Silverado, featuring sponsored broadcast segments and display ads on Clear Channel station Web sites. In the broadcast portion of the year-long campaign, GM will sponsor Clear Channel's 15-second traffic updates with brief messages directing listeners to the station Web sites, which will deliver "floating" display ads depicting the Silverado "driving" across the screen to "park" in the leader-board section of the page. Ed Peper, Chevrolet general manager, said "Clear Channel Radio presented us with a strategy to connect with our target audience throughout the entire day--on the road and on the Internet." Jeff Howard, regional president of Clear Channel radio sales, boasted that "the integrated approach will also demonstrate the brand-building power of our multiplatform medium." The linked 15-second traffic sponsorships and online ads will run in Austin, Dallas, Houston, San Antonio, New Orleans, Memphis, St. Louis, Kansas City and Oklahoma City. Over the last two years, Clear Channel has invested substantially in updating, organizing and expanding its online operations to attract more Web traffic and ad revenue. The overhaul shifted into high gear with the hiring of Evan Harrison, formerly of AOL, as executive vice president for Clear Channel's online division. Harrison led the revamping of 950 out of 1,171 station Web sites as well as the rollout of new online features like "Stripped," a series of live in-studio jam sessions and interviews; "Sneak Peak," which gives viewers a chance to listen to albums before they are released; and "Video Six Pack," a sampler of favorite videos selected by well-known artists.
Pontiac is boosting its multi-year sponsorship of NCAA sports this month with several integrated ad and promotional campaigns tied to March Madness. Pontiac's presence on the Final Four college athletic Web sites and on sites like CBS.com, NCAAsports.com, and SportsLine.com, among others, is its largest Web-based effort for the NCAA. The effort is via Leo Burnett, Pontiac's AOR, Digitas, and GM Planworks, which handled the media buy. The work includes a host of online elements--e.g., a "Virtual NCAA Final Four" animated online game, Web videos hosted by Bryant Gumbel and tied to a Web-based promo, "The Pontiac Game-Changing Performance." The promotion, in its third year, allows fans to select the "defining moment" in the game or season. Pontiac is doing likewise during NCAA Division 1 Women's Basketball Championship, with ESPN selecting the Women's Game-Changing Performance on April 3. Chris Hornberger, Pontiac advertising manager, says Pontiac's involvement with NCAA reaches the right audience, since 30% of fans are aware of Pontiac and twice as likely to consider buying a Pontiac vehicle as the general market. He adds that while the audience is mostly male, the mix becomes more evenly balanced during the Final Four. "And obviously, in women's basketball, that's a great market that's growing." In addition to the Game-Changing Plays announcements during broadcasts on CBS in a segment hosted by Gumbel, Pontiac will have billboards, onscreen crawlers and logos promoting the brand and promo. In an effort to drive consumers to dealerships, Pontiac is also offering 100 trips to the 2007 Final Four, per Hornberger, the largest ticket giveaway by a sponsor in NCAA history. To register, one must go to a local Pontiac dealership and receive scratch-off game pieces. Winners get air fare, tickets and hotel accommodations. Finally, Pontiac will run new Final Four-themed ads featuring Texas Tech coach Bob Knight, which tout the G6 sedan and Torrent crossover, the dealership ticket give-away and Pontiac's March sales event called Pontiac Upgrade, which allows buyers to upgrade vehicle features for free. "If you incorporate the digital elements, it's our biggest March Madness campaign to date," says Hornberger. "We have taken it to the next level with digital, targeting more by relevancy than scale, both by targeting aficionados, and even more so, schools nominated to play."
Publishers targeting consumers with news about alcoholic beverages and venues are going mobile. This allows them to reach their readers on the go and at point of sale. The new mobile services run the gamut of market niches--from high-class wine recommendations to the cheapest happy hour dive. On Tuesday, Wine Spectator magazine announced that the Top 100 Wines of 2006 will be available for free download to iPod, via Mogopop, a site that allows users to create, share and download interactive content. The top 100 list is compiled by the magazine's senior editors from all wines reviewed in the previous year. This is the first year where it will be available in iPod format. Marvin R. Shanken, editor and publisher of Wine Spectator, explained the utility of the downloadable list: "The top 100 Wines for iPod means iPod-carrying wine lovers can now carry a great tool that offers the expertise and guidance they expect from Wine Spectator into a restaurant or on a wine shopping trip." No need studying vintages to sound like a sommelier--just grab the "Cliff Notes" version in mobile form. Also on Tuesday, CoolHappyHours.com, a Web-based social network with a self-explanatory mission, is soliciting advertising from restaurants, bars and other hospitality businesses that want to reach its members through various digital channels, including email newsletters, text messages and Web logs. The text-message service allows advertisers to reach consumers during the day via their mobile phones. According to Gemma Jablonski, a former commodities trader who founded CoolHappyHours.com, "Texting patrons who have 'opted-in' to receive bar and drink specials from their favorite establishments is a new trend that is sweeping Europe and Australia. Only the tip of the iceberg is being exposed here in the States." She notes that texting is popular with young urban, tech-savvy hipsters who are not swayed by conventional ads. CoolHappyHours.com members receive details about local specials, happy-hour event e-mails and exclusive drink offers through SMS, as well as an e-postcard system to invite friends to particular venues. Both announcements came shortly after Arbitron announced the results of a survey, which found that 50% of Americans over the age of 21 had been to a bar in the last month, with 33% visiting in the last week. Consumers who patronize bars are actually a desirable target demo for advertisers. According to Arbitron, they include a higher percentage of self-described "early adopters" than the population at large: 27% of monthly bargoers consider themselves "early adopters," versus 18% generally--and 26% say they frequently recommend new products to friends, compared to 19% overall. Monthly bar patrons visit 3.6 days a month on average, and weeklies visit 1.7 days a week--meaning that they frequently expose themselves to in-bar messages.
The return of ABC's hit show "Dancing with the Stars" picked up where it left off in the fall--sharp moves rocketed ABC back into the ratings race. "Stars" sashayed around Monday night with a preliminary Nielsen Media Research 6.3 rating among 18-49 viewers for its two-hour premiere--up nicely from its 5.7 fall debut. The slick twirls sent ABC to the top of the heap--finishing first with a 5.2 rating among 18-49 viewers for the evening. Fox was a distant second at 4.0 rating/10 share with its best effort a 4.7 rating for "24." Its "Prison Break" pulled in its standard numbers--a 3.4 rating among 18-49 viewers. CBS was just behind Fox at 3.9/10. The net's 8 p.m. comedies took the brunt of "Stars" power--a 2.9 for "How I Met Your Mother" and 2.5 for "The New Adventures of Old Christine," which was a season low for the series. But by 10 p.m., CBS recovered with its usually strong "CSI: Miami," posting a 5.3. NBC also suffered on the night, with a 3.6/9 average rating and share. NBC decided to sit this night out a bit--pulling out its prized "Heroes" at 9 p.m. and instead running a two-hour "Deal or No Deal" special, starting at 8 p.m. "Deal" did better in the second half hour with a 4.6 rating, up from a 3.8 the hour before. At 10 p.m., NBC suffered again with "The Black Donnellys"--now getting a 2.4 rating. ABC had a bit more to cheer about during that time period, with its "What About Brian" rating a 2.8. Univision was fifth at 1.7/4, and CW sixth at 1.0/3. CW got virtually the same rating for each of its comedies: "Everybody Hates Chris" (1.1),"All of Us" (1.0), "Girlfriends" (1.0) and "The Game" (1.0).