In response to social’s spreading influence, Ogilvy & Mather has realigned its related assets into a single practice. Social@Ogilvy aims to connect over 550 dedicated social media experts around the world -- and strengthen ties with another 4,000 digital experts. What was once a specialty offering within Ogilvy Public Relations now spans all agency disciplines, including marketing, communications, CRM, sales and shopping insights. In addition to social media marketing and communications, the practice now covers social shopping, social CRM, social care, social business solutions, listening and analytics and the agency’s standard measurement model “conversation impact.” “That [equals] access to social experts deep in every marketing and communications discipline,” said John Bell, Global Managing Director of Social@Ogilvy. Bell said the agency spent the past seven years defining and applying "best practice" use of social media to business. It wasn’t easy, he said, but it was necessary. “The real power of social media for business in 2012 and beyond lies in fully integrated solutions, not stand-alone social programs,” Bell notes. Headquartered in New York and led by Bell, the team also includes Tom DeLuca, COO, and a board of advisors, including Christopher Graves, CEO of Ogilvy Public Relations Worldwide; Gunther Schumacher, COO of OgilvyOne; Brandon Berger, Chief Digital Officer of Ogilvy & Mather and Steve Harding, CEO of OgilvyAction. Global clients like IBM, Nestlé, Unilever, UPS and Ford are currently scaling their use of social media and effectively “socializing their enterprise.” Bell, however, wouldn’t provide details regarding their specific strategies. Speaking to social’s preeminence, Facebook is now perceived to be the “strongest” digital media brand among advertisers and agency executives, according to new findings from Advertiser Perceptions Inc. “Social networks have cemented their place in advertising,” eMarketer principal analyst Debra Aho Williamson said in a recent report. “More marketers than ever believe their brands should be engaging with consumers on social networks -- and advertising is an increasingly successful tool for doing so.” Worldwide, eMarketer expects social network ad revenues to approach $10 billion in 2013.
Cabot Creamery is launching Reward Volunteers, a mobile app allowing volunteers to log hours, post to Facebook and earn rewards for themselves and the nonprofits they serve. Cabot, the Vermont-based dairy farmers’ cooperative, developed the app, which works with Facebook Connect, with social business startup ChaloApps.com. It can be downloaded free on iTunes for use on iPhone, iPad and iPod Touch, or as a Web-based program on RewardVolunteers.coop and the sites of partnering organizations. Between Feb. 14 and July 7, volunteers can use Facebook Connect to track their hours, tag organizations, share photos and post activities. The more service hours accrued and sharing and “likes” generated for an organization, the more chances volunteers have to win prizes and the more chances their organizations have to win money. Between March and July, Cabot will hold monthly drawings to select winners of prizes such as gift baskets with Cabot cheeses and other items, Vermont ski passes, vacations at Liberty Hill Farm or Smugglers Notch, Keurig brewers, and $3,000 cash prizes. All participants also receive a $2 Cabot coupon. On July 7, five qualifying nonprofits will each be awarded $3,000. In addition to Cabot, organization sponsoring Reward Volunteers include AARP’s Create the Good, All for Good, Marriott, The National Cooperative Grocers Association and The National Cooperative Business Association. Reward Volunteers coincides with Cabot’s May through July Community Tour, during which the brand will hold events to celebrate co-ops and community service efforts at stops all along the East Coast Greenway, which stretches from Florida to Maine. The programs tie into the U.N.’s designation of 2012 as the International Year of the Cooperative.
Burt’s Bees may have a loyal customer following among 30-something women with a razor-sharp sense of “good” and “bad” ingredients. But the personal-care products company, which is owned by Clorox, says the special needs of Gen Y warrants the first spinoff in its 25-year history. Güd is aiming for women in the 18-to-24 age range, who are less “crunchy” and “just want to smell good,” Garrett Putman, global marketing manager for Burt’s Bees, tells Marketing Daily. “We wanted to provide something for these women, who are very sensorial. They may make great choices to protect the environment, but they’re not as on the lookout for villain ingredients, or worried about wrinkles, as the Burt’s Bees shopper is. She is the kind of woman who will pop open the cap in the store looking for an indulgent fragrance.” The 32-product line, available in four fragrances, says “From Burt’s Bees” right on the label, he says, “which gives us instant credibility as far as a natural product. So we can be fun and playful.” Three of those fragrances, Orange Petalooza, Floral Cherrynova, and Vanilla, are rolling out among retailers that already carry Burt’s Bees, and Putman says 28,000 end caps will move into such chains as Walgreens and Kroger. A fourth fragrance, Pearanormal Activity, is scheduled to be available exclusively at Target for 12 months. Güd -- which will be marketed with a “Güd happens” campaign online, in social media, with PR, and via print ads in such magazines as Allure and Lucky -- is being positioned with “a refreshing perspective that being happy makes women beautiful, not the other way around.” The positioning, via agency Baldwin&, based in Raleigh, N.C,, is described as “peachy, not preachy.” Prices range from $5 to $12. The line includes peppy little aphorisms on the packaging, such as: “For hair that says ‘Touch me.’ Talking hair, pretty nifty;” “He’ll hold your hand. Heck, you’ll hold your hand,” and “If you don’t sing in the shower, you will now.” That tone is important, he says, “because we know how social these Millennials are. Her iPhone is the fist thing she looks at in the morning and the last thing she sees before she goes to bed. We wanted to speak to her about Güd the way she speaks to her friends.”
A robust investment in digital companion content and a social media program that began late last year helped CBS Interactive claim success with its Grammy Live multi-screen complement to Sunday’s on-air awards show. “For our three-day Grammy Live experience we got over 1 million viewers of content over 72 hours,” says Marc DeBevoise, SVP and GM, Entertainment Division, CBS Interactive. Starting late last week, CBS Interactive -- in partnership with the Recording Academy -- ran extensive video, news and image content from pre-show events to Grammy.com and CBS.com as well as into iOS apps. The majority of traffic to Grammy Live went to the Web, but DeBevoise adds that the iOS apps proved extremely popular -- remaining near the top of the free app charts in the iTunes App Store late last week. The peak viewership of the second-screen experience occurred on Sunday during the pre-show red carpet arrivals. According to DeBevoise, the success of Grammy Live demonstrates the special power networks have to create the kind of enhanced content to their own shows that drive users across displays. “There are a lot of guys touting second screens as their thing,” he says. “They aren’t necessarily second screen; they don’t have a lot to offer." Competition may be heating up between the networks crafting their own cross-screen experiences and third parties claiming to do the same. In the last year, many companies like IntoNow, Umami, ConnecTV and Shazam have poured into the mobile space with apps that detect and complement TV content. In fact, CBS and The Recording Academy partnered with Shazam this year for the Grammys. The audio ID app detected that the show was on and pushed out links to download the iTunes track for the on-air performance. DeBevoise says this Shazam partnership was a “promotional deal” to drive tune-ins, and distinguishes it from the exclusive material the original content provider can offer. “As a network we do it hand-in-hand with our broadcasters and you see what can happen. This is truly second-screen that can build on what is going on on-air. It is not just a light experience.” On the other hand, he admits that the cost and effort involved in a constant stream of parallel programming efforts can be prohibitive. “You can’t program a full second-screen experience for every episode of every show. But on events like these in big areas, there are ways to develop programming experiences that are viable.” One of the key learnings from this second-screen outing was the force of social TV. BlueFin Labs reports that the Grammy Awards set a record 13 million comments in social media during the event -- up 1,280% since last year and beating even the Super Bowl’s 12.2 million mentions. DeBevoise says Grammy Live started riding that wave back in November when it started a “Garage to the Grammys” contest on Facebook. Music fans were enlisted to elect a band to perform on the Grammy Live feed. Nearly 1,000 bands were involved, and the winner garnered over 750,000 votes, he says. “We got the social conversation going early and we fulfilled it on Grammy Live. We learned that the integration of social early on and during the event was key.”
In response to social’s spreading influence, Ogilvy & Mather has realigned its related assets into a single practice. Social@Ogilvy aims to connect over 550 dedicated social media experts around the world -- and strengthen ties with another 4,000 digital experts. What was once a specialty offering within Ogilvy Public Relations now spans all agency disciplines, including marketing, communications, CRM, sales and shopping insights. In addition to social media marketing and communications, the practice now covers social shopping, social CRM, social care, social business solutions, listening and analytics and the agency’s standard measurement model “conversation impact.” “That [equals] access to social experts deep in every marketing and communications discipline,” said John Bell, Global Managing Director of Social@Ogilvy. Bell said the agency spent the past seven years defining and applying "best practice" use of social media to business. It wasn’t easy, he said, but it was necessary. “The real power of social media for business in 2012 and beyond lies in fully integrated solutions, not stand-alone social programs,” Bell notes. Headquartered in New York and led by Bell, the team also includes Tom DeLuca, COO, and a board of advisors, including Christopher Graves, CEO of Ogilvy Public Relations Worldwide; Gunther Schumacher, COO of OgilvyOne; Brandon Berger, Chief Digital Officer of Ogilvy & Mather and Steve Harding, CEO of OgilvyAction. Global clients like IBM, Nestlé, Unilever, UPS and Ford are currently scaling their use of social media and effectively “socializing their enterprise.” Bell, however, wouldn’t provide details regarding their specific strategies. Speaking to social’s preeminence, Facebook is now perceived to be the “strongest” digital media brand among advertisers and agency executives, according to new findings from Advertiser Perceptions Inc. “Social networks have cemented their place in advertising,” eMarketer principal analyst Debra Aho Williamson said in a recent report. “More marketers than ever believe their brands should be engaging with consumers on social networks -- and advertising is an increasingly successful tool for doing so.” Worldwide, eMarketer expects social network ad revenues to approach $10 billion in 2013.
Cabot Creamery is launching Reward Volunteers, a mobile app allowing volunteers to log hours, post to Facebook and earn rewards for themselves and the nonprofits they serve. Cabot, the Vermont-based dairy farmers’ cooperative, developed the app, which works with Facebook Connect, with social business startup ChaloApps.com. It can be downloaded free on iTunes for use on iPhone, iPad and iPod Touch, or as a Web-based program on RewardVolunteers.coop and the sites of partnering organizations. Between Feb. 14 and July 7, volunteers can use Facebook Connect to track their hours, tag organizations, share photos and post activities. The more service hours accrued and sharing and “likes” generated for an organization, the more chances volunteers have to win prizes and the more chances their organizations have to win money. Between March and July, Cabot will hold monthly drawings to select winners of prizes such as gift baskets with Cabot cheeses and other items, Vermont ski passes, vacations at Liberty Hill Farm or Smugglers Notch, Keurig brewers, and $3,000 cash prizes. All participants also receive a $2 Cabot coupon. On July 7, five qualifying nonprofits will each be awarded $3,000. In addition to Cabot, organization sponsoring Reward Volunteers include AARP’s Create the Good, All for Good, Marriott, The National Cooperative Grocers Association and The National Cooperative Business Association. Reward Volunteers coincides with Cabot’s May through July Community Tour, during which the brand will hold events to celebrate co-ops and community service efforts at stops all along the East Coast Greenway, which stretches from Florida to Maine. The programs tie into the U.N.’s designation of 2012 as the International Year of the Cooperative.
Burt’s Bees may have a loyal customer following among 30-something women with a razor-sharp sense of “good” and “bad” ingredients. But the personal-care products company, which is owned by Clorox, says the special needs of Gen Y warrants the first spinoff in its 25-year history. Güd is aiming for women in the 18-to-24 age range, who are less “crunchy” and “just want to smell good,” Garrett Putman, global marketing manager for Burt’s Bees, tells Marketing Daily. “We wanted to provide something for these women, who are very sensorial. They may make great choices to protect the environment, but they’re not as on the lookout for villain ingredients, or worried about wrinkles, as the Burt’s Bees shopper is. She is the kind of woman who will pop open the cap in the store looking for an indulgent fragrance.” The 32-product line, available in four fragrances, says “From Burt’s Bees” right on the label, he says, “which gives us instant credibility as far as a natural product. So we can be fun and playful.” Three of those fragrances, Orange Petalooza, Floral Cherrynova, and Vanilla, are rolling out among retailers that already carry Burt’s Bees, and Putman says 28,000 end caps will move into such chains as Walgreens and Kroger. A fourth fragrance, Pearanormal Activity, is scheduled to be available exclusively at Target for 12 months. Güd -- which will be marketed with a “Güd happens” campaign online, in social media, with PR, and via print ads in such magazines as Allure and Lucky -- is being positioned with “a refreshing perspective that being happy makes women beautiful, not the other way around.” The positioning, via agency Baldwin&, based in Raleigh, N.C,, is described as “peachy, not preachy.” Prices range from $5 to $12. The line includes peppy little aphorisms on the packaging, such as: “For hair that says ‘Touch me.’ Talking hair, pretty nifty;” “He’ll hold your hand. Heck, you’ll hold your hand,” and “If you don’t sing in the shower, you will now.” That tone is important, he says, “because we know how social these Millennials are. Her iPhone is the fist thing she looks at in the morning and the last thing she sees before she goes to bed. We wanted to speak to her about Güd the way she speaks to her friends.”
A robust investment in digital companion content and a social media program that began late last year helped CBS Interactive claim success with its Grammy Live multi-screen complement to Sunday’s on-air awards show. “For our three-day Grammy Live experience we got over 1 million viewers of content over 72 hours,” says Marc DeBevoise, SVP and GM, Entertainment Division, CBS Interactive. Starting late last week, CBS Interactive -- in partnership with the Recording Academy -- ran extensive video, news and image content from pre-show events to Grammy.com and CBS.com as well as into iOS apps. The majority of traffic to Grammy Live went to the Web, but DeBevoise adds that the iOS apps proved extremely popular -- remaining near the top of the free app charts in the iTunes App Store late last week. The peak viewership of the second-screen experience occurred on Sunday during the pre-show red carpet arrivals. According to DeBevoise, the success of Grammy Live demonstrates the special power networks have to create the kind of enhanced content to their own shows that drive users across displays. “There are a lot of guys touting second screens as their thing,” he says. “They aren’t necessarily second screen; they don’t have a lot to offer." Competition may be heating up between the networks crafting their own cross-screen experiences and third parties claiming to do the same. In the last year, many companies like IntoNow, Umami, ConnecTV and Shazam have poured into the mobile space with apps that detect and complement TV content. In fact, CBS and The Recording Academy partnered with Shazam this year for the Grammys. The audio ID app detected that the show was on and pushed out links to download the iTunes track for the on-air performance. DeBevoise says this Shazam partnership was a “promotional deal” to drive tune-ins, and distinguishes it from the exclusive material the original content provider can offer. “As a network we do it hand-in-hand with our broadcasters and you see what can happen. This is truly second-screen that can build on what is going on on-air. It is not just a light experience.” On the other hand, he admits that the cost and effort involved in a constant stream of parallel programming efforts can be prohibitive. “You can’t program a full second-screen experience for every episode of every show. But on events like these in big areas, there are ways to develop programming experiences that are viable.” One of the key learnings from this second-screen outing was the force of social TV. BlueFin Labs reports that the Grammy Awards set a record 13 million comments in social media during the event -- up 1,280% since last year and beating even the Super Bowl’s 12.2 million mentions. DeBevoise says Grammy Live started riding that wave back in November when it started a “Garage to the Grammys” contest on Facebook. Music fans were enlisted to elect a band to perform on the Grammy Live feed. Nearly 1,000 bands were involved, and the winner garnered over 750,000 votes, he says. “We got the social conversation going early and we fulfilled it on Grammy Live. We learned that the integration of social early on and during the event was key.”
At a time when there are more televisions than people in the United States, one of the loneliest things you can do is watch TV. There was a time, long ago and far away, when the entire family would gather around the communal television to tune in “The Beverly Hillbillies.” But now, with TV sets in almost every room, people today generally watch TV alone. There is, however, an antidote to the feelings of anomie that sometimes arise from the solitary TV experience: live-tweeting. This is the practice of using Twitter to comment on events in real time while simultaneously checking to see what other people around the country are saying about the same thing, usually under a commonly agreed upon hash tag (e.g., “#idol” or “iowadebate.”) It’s like the old-fashioned chat room on steroids, and it helps you feel part of a wider, wittier community. There’s a reason they call Twitter and Facebook “social media.” These platforms help us use the computer to achieve the personal connections that are increasingly elusive in today’s fragmented world. Maybe it’s sad that we’re using Twitter to forge relationships that we can’t make in real life, but sometimes artificial connections are better than no connections at all. (And if you want to follow me, I’m at @garyholmes.) I don’t want to overstate the quality of live-tweeting. The Twitter feed is usually just a gush of comments that are nearly impossible to keep up with. You can quickly scan 50 or so at a time to get a gist of what people are saying -- and, frankly, most are mundane and some are stupid. But the few that are witty and insightful can add to your understanding and enjoyment of what you are following. When live-tweeting TV shows yourself, it’s much better to do so while watching the show “live” (i.e., not time-shifted). If you’re even a minute behind the live action, your tweets are out of date, making you seem like the social goofball who comes up with the snappy retort several minutes after the rest of the group has moved on to another topic. (This is part of the reason West Coast viewers protested decision to tape-delay the Grammys Sunday night; any West Coaster who glimpsed Twitter or Facebook while the show was being broadcast in the East would have been tipped off to the winners.) Although you can live-tweet almost any TV show, the best genres are live events you wouldn’t want to timeshift anyway, including sporting events, award shows, political debates, election returns, royal weddings, hurricanes, celebrity trials, beauty pageants, and Presidential funerals. It is my own personal opinion, based on no scientific evidence, that the cleverest live-tweeting occurs during political reporting (as in this tweet when the results of the Florida primary were rolling in: “BREAKING: sources in florida tell me Morty Seinfeld will win the Del Boca Vista condo board elections #flprimary.”) Conversely, the lamest live-tweeting seems to be during sporting events (although baseball tweeters are better than football tweeters.) Falling someplace in between is live-tweeting on award shows. Perhaps this is counterintuitive, but I find that the less engaged I am with a program, the more likely I am to tweet about it. That’s because sports, news, award shows and other live events have blathering commentary, so I don’t feel like I’m missing anything if I turn to Twitter. But during a great drama or comedy, I am usually too absorbed in the show to do anything other than watch the TV set. I can’t imagine myself tweeting during “Mad Men,” for example, except possibly during a commercial. In this regard, the norms of live-tweeting are a lot like watching TV with your friends. It’s OK to shout out witticisms and wisecracks during sporting events and political debates, but during an intense scripted show you don’t want the distractions. This engagement conundrum illustrates the problem with using Twitter for any kind of audience measurement: Twitter might work fine as giant focus group, but the total number of tweets doesn’t necessarily correspond to viewing levels or even levels of engagement. Twitter skews in favor of live programming and against shows that are heavily DVR’d. Shows with the same number of viewers can have vastly different tweets. Then there’s the fact that a great deal of live-tweeting occurs during commercials -- how do advertisers feel about that? Do a lot of tweets reflect greater or weaker involvement with advertising? Twitter may or may not have utility as an analytical tool, but it has clearly shown its usefulness as a social tool. Looking ahead to the Academy Awards on Feb. 26, I have not been invited to any Oscar parties. In years past, I might have felt sorry for myself, but now I am almost relieved – I’ve got my tweeps to keep me company.
The plot thickens. Last week I wrote about how social buzz for Super Bowl ads plummeted — and I mean the skydiving, body-slamming kind — mere minutes after most ads aired. But yet, many of us still went online and watched the ads. What gives? Are Super Bowl ads being seen — both on TV and online — but just not being talked about? Because according to a just-released report from WPP’s online and mobile research arm Kantar Video, the top 10 Super Bowl ads saw on average a 13% increase in the return on their media spend when factoring in additional online video impressions. All the SuperBowl ads accounted for $11 million in earned online video impressions and more than three times an increase in views over last year, Kantar said. Brands are also seeing big boosts from pre-releasing ads, as Honda and its more than 22 million online views for its Ferris Bueller takeoff spot has learned. But, one must ask if the Honda ad was so popular because it was pre-released, or because it starred an iconic actor reprising an iconic role? Interestingly, Kantar found that in the auto category, the Audi and Volkswagen spots generated high brand recall. Online video analytics shop Visible Measures also crunched the numbers, reporting that Volkswagen’s The Bark Side (yes, the cream does rise to the top because that ad rocked my paws off) topped the views chart with 24 million views as of Feb. 9, followed by Honda, Acura, Samsung and M&M ads. So what do we make of all these views, but not much chatter? For starters, bear in mind I’m not comparing apples to apples. The social buzz and the online video impressions don’t always equate. But even though an ad racks up the video views, it still matters what a consumer does next. Does the viewer talk about the brand? Tell a friend about the spot? Spread the word? Time will tell whether views alone tell the whole story or whether they need to be coupled with social chatter to translate into true brand lift. What I do know is this — nearly all ads are better with dogs or cats in them.
According to the Social Ad Effectiveness study by Unruly, the results of a survey to determine the impact of recommendation on brand metrics among 18-34 year olds found that social recommendations dramatically increased ad performance. In particular the study found that:
We are all familiar with the old saying, “the best offense is a good defense.”When it comes to highly regulated industries such as pharma getting involved with social media, having a well-prepared defensive plan in place at the outset is critical to risk management. With the recent publishing of the FDA draft guidelines addressing unsolicited requests for off-label information about prescription drugs and medical devices, pharmaceutical companies are in an excellent position to expand their social media programs into engagement. Still, with the draft nature of the guidelines, risk management is critical. While there has been some mixed reaction to the draft guidelines, the FDA is giving a clear show of confidence in pharma companies, stating, “FDA recognizes that firms are capable of responding to requests about their own named products in a truthful, non-misleading, and accurate manner.” In fact they take this a step further to say it makes sense for pharma to be engaging, “…because firms usually have robust and current information about their products, it can be in the best interest of public health for a firm to respond to unsolicited requests for information about off-label uses of the firm’s products that are made in public forums, especially since other responders may not provide or have access to the most accurate and up-to-date medical product information.” With all of that positive messaging, what are the key points affecting how pharma companies interact with the public? The FDA advises that pharmaceutical companies may give out information about off-label uses to patients, but only if the question was not solicited through marketing materials or advertising, for example. Additionally pharma companies are cleared to respond to public questions about off-label uses they get on social media sites such as Facebook, Twitter or forums, but the response must be private communication and shouldn’t come from sales or marketing personnel. Okay, so that sounds fairly straightforward. Now, how do you help mitigate risk exposure when you venture into a more active and engaged social media program? The key is to establish clear guidelines for everyone participating, centralize your efforts and intercompany communications around social and create an audit trail by tracking everything. Let’s take a closer look at the five ways pharma can mitigate risk when using social media: 1. Establish a social media policy and keep employees informed. Of course the most important starting place for any company, in a regulated industry or not—whether they are currently participating in social media or just watching from the sidelines—is to have a social media policy in place and make sure employees and appropriate vendors are trained on it. Even if your company isn’t social, your employees probably are.
About a year ago, the content mill Demand Media was conducting its IPO. Many critics of its approach to generating content -- which was based on gaming Google’s search algorithm to gain top spots in search results pages to drive clicks to its often less-than-authoritative content -- were demanding that the search engines change their ranking criteria. Google complied, and Demand Media and its brethren experienced noticeable drops in search ranking, and in traffic. The new golden rule then was that only truly authoritative content produced to genuinely inform, entertain or otherwise engage an appropriate audience was the key to achieving top search rankings. While that rule is still true today, increasingly the new top content aggregation sites -- think BuzzFeed or Wetpaint -- are seeing more and more of their traffic come not from clicks on search results but from social sites like Facebook, Twitter and LinkedIn. In some cases, these sites are seeing up to 35% of their traffic come from clicks on social links, according to a recent report. Listen to these site managers, and they will tell you they’re not only optimizing for search, but also for social, making content bite-sized and easily shareable on Facebook or Twitter. Still, it’s the actual content that matters: the stuff that is actually engaging an audience and which inspires them to share it. Quality original content is also what top advertisers are looking for; they see it as a premium offering and will pay more to buy space around it. Because original content production is expensive and time-consuming to produce regularly, it’s important that publishers and content marketers are doing everything they can to get the most out of their investment in that media. Often, original content has a certain evergreen quality, and publishers should be quick to resurface it when interest in the content’s subject matter resurfaces. For instance, it’s a good idea to leverage interest in any given piece of content by presenting past, related content, which aids in content rediscovery. The more you engage and retain an audience’s interest, the greater the chances your audience will share it across their social graphs. When you do publish a piece of content that gets picked up and goes viral, make sure the page the content is featured on provides other ways to engage the audience. For instance, if you’ve published a blog post, include a related photo gallery or video; publish a poll that relates to the content soliciting your audience’s opinions; or include the Twitter feed relating to the content or topic referenced in the content. By producing original content, intelligently recirculating previously published media, and highlighting the best of aggregated media relating to the topic at hand, you increase the chances of deeply engaging your audiences and improving social sharing metrics. Oh, and your search rankings should improve, too.