Coca-Cola, or simply Coke, is considered the world’s most popular beverage. Found in over 200 countries, the Coca-Cola logo, like the product itself, is one of the most recognized logos and brands in the world. Needless to say, Coke is a global cultural icon thanks to the marketing efforts that have emotionally engaged people with the brand.

Coke’s success in dominating market share can be attributed to a consistent and strategic branding effort. This effort has given the brand vintage appeal, associated the product with the biggest commercial holidays and global events (Christmas, Olympics, etc), sponsored pop culture sensations like American Idol, and conditioned consumers to crave Coke by pairing it with complementary foods. Much like pairing milk with chocolate chip cookies in the “Got Milk” campaign, American epicurean staples like hamburgers and french fries cannot be consumed without Coke.

And although the Pepsi Challenge blind taste test proved that people generally prefer the sweeter taste of Pepsi over Coke, Malcolm Gladwell – author of the 2005 bestseller “Blink” – contests that the Challenge was a “sip test”. Had subjects actually been given the entire can to consume, they would’ve preferred Coke since people tend to like sweeter things in small doses. This, according to Gladwell, is why Pepsi prevailed in the Challenge, but why Coke ultimately continued to lead the market.

Furthermore, in these blind taste tests, subjects who picked Pepsi over Coke will actually choose Coke in a taste test where the brands are revealed before sampling. Martin Lindstrom, author of “Buy-ology”, argues that all the positive emotional connections the subjects had with Coke – its history, logo, color, design, fragrance, childhood memories of Coke, Coke’s TV and print ads over the years – beat back their rational and natural preference for the taste of Pepsi. Because emotions are the way in which our brains encode things of value, a brand that engages us emotionally will win every single time.

Coke’s presence during life’s most memorable events – or the marketing efforts that strategically placed Coke around life’s most memorable events – is what makes us desire it. Coke thus prevails even despite studies that prove its deteriorative effects on teeth, DNA damage, and hyperactivity in children. And contrary to the relatively recent anti-obesity efforts, people will still opt for a Coke over water, even when water is free. But in some countries, Coke is just available in more abundance than water.

And unlike its competitors, Coke has maintained a consistent and familiar logo design. In attempt to refresh its brand, Pepsi has launched a multi-million dollar re-branding campaign that debuts a revised logo.

The new logo was introduced noticeably by a massive Out-of-Home media investment – billboards, station dominations, etc. Although the change was designed to make the logo more “dynamic and alive”, consumers inherently desire consistency, which offers a sense of stability and control. This is the 11^th time in Pepsi’s 110-year history that the logo was changed. In contrast, the Coca-cola logo has remained consistent throughout its product history, with only minor changes to the bottle itself.

In short, the Coke brand is timeless, whereas Pepsi’s logo revision comes across more as a campaign idea than an enduring brand expression. All of Coke’s marketing dollars have been invested to ensure the brand stays woven into our daily lives and continues to be culturally relevant. So needless to say, strategic and consistent marketing has transformed a simple consumer product like Coke into a global cultural icon.

I own an iPod and if the iPhone weren’t serviced through AT&T, I’d probably own one of those too. I’m also a PC user and I’ve never owned a Mac, so in light of the Mac vs. PC debate, I have to ask myself what camp do these conflicting brand loyalties put me in? Am I a PC or am I a Mac? In their latest full frontal commercial battles, Apple and Microsoft (posing as the ambassador for PC brands) are calling out for allegiance and drawing borders around their respective camps. Apple’s “Mac vs. PC” ads comically depict the known stereotypes of Mac and PC users. According to these commercials, Mac users are more hip and trendy, while PC users are the nerdy, techy business types. I initially liked those commercials until I realized that I was a PC user and I didn’t appreciate being stereotyped as a nerd. The new Microsoft “I’m a PC” commercials come to my defense by reinforcing the fact that PCs have the largest market share and are widely used across all different industry verticals. Even stars like Eva Longoria and Pharrell Williams use them! Whew…I’m not a nerd after all (…).

Although it’s hard to disagree that the Apple brand is trendy because of the look and the success of their products, I dare to say that the appeal of Apple products really comes from their ease of use. When computers were exclusively devices for tech savvy engineers, Apple made using the computer a more inclusive and personal technology experience for the non-Silicon Valley types by hiding the layers of complexity and making face-to-face tech support available at their Apple retail locations. In contrast, PCs annoy me with their pop-up error windows when something doesn’t work the way I want it to. And there are no longer any PC retail outlets where I can bring my laptop into for troubleshooting expertise, but I can usually sort through the issue myself within a couple of minutes without having to consult the web-based support system. That said, it’s generally easier for PC users to switch to Macs, but not as easy for Mac users to switch to PCs.

So although Apple’s Mac vs. PC commercials depict the generally accepted stereotypes associated with the two camps, they don’t tell the whole truth. And the truth is that there are more PC users than there are Mac users, and that the PC offers both technical business as well as creative functionalities. For example, Dreamworks’ Kung Fu Panda was digitally animated using HP’s new TouchSmart computer, a task one would assume would be executed using Macs. The project was leveraged in HP’s latest branding campaign “The PC is Personal Again”, which repositions the PC as a personal media-hub and dispels the notion that right-brained thinkers use only Macs. And although the tag line markets HP’s products, the PC world, in general, seems to have adopted a similar marketing theme to remind consumers of the multi-faceted capacities of the Windows Operating system. According the Microsoft commercials, actors, engineers, bloggers, and rappers love their PCs.

These Microsoft commercials are centered around the idea of “Windows without Walls”, which inspires and reinforces the notion that technology allows us to “start a dialogue between hundreds of devices, billions of people and a world of ideas”. Despite these high-profile ad efforts, the commercials still don’t inject into the PC brands the same type of passionate fervor that defines the Apple users’ loyalty to the Apple brand. The Apple brand icon imbues technology that allows for creative self-expression, and even though PCs allow us to do the same, Apple’s marketing efforts have convinced us otherwise. So what this Mac vs. PC debate really comes down to is the same thing that draws people to choose either Internet Explorer or Mozilla: the usability preferences between on and the other. Apple’s success is ultimately the result of a more cohesive marketing effort, which for example, turned a simple mp3 player into a technology as well as a cultural phenomenon. Although the latest Microsoft ads, in cohesion with HP’s “The PC is personal again” branding theme, don’t directly retaliate against Apple’s blatant attacks, they certainly correct the misperception of who the PC user is and remind the world that you can do exactly the same thing on a PC as you can on a Mac, if not more. And although these commercials aren’t as humorous as the Apple commercials, it’s the first time we’ve seen a concerted attempt to re-brand the PC as “cool” and “personal” because ultimately our lives have gone digital and technology isn’t exclusively for geeky software engineers anymore. PC marketers have finally realized that the computer is not just for work anymore.

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Bonus: Jay-Z HP Hand Commercial - “The PC is Personal Again”

Sex sells. Here’s why: provocative images designed to elicit sexual responses - whether to shock or appeal to repressed sexual desires - work as long as people desire romance, intimacy, eroticism, attraction, love, and all the feelings they involve. Sex evokes a hardwired emotional response that is linked to species survival. We can’t help that we are instinctively drawn to it because emotional information has a way of piercing our perceptual fields by rising above other environmental information trying to get our attention. So by appealing to our sexual emotions, advertisers attempt to get our attention and show how their products help meet those desires.

Common themes adhere to the “Buy this, get this” formula, and some sexual positioning strategies include: If you buy our product, (1) you’ll be more sexually attractive, (2) have more or better sex, or (3) just feel sexier for your own sake.

For example, the “Axe Effect”:

This commercial’s message to males: Women will temporarily lose their sense of decorum around men who use Axe products because it smells good and makes men sexy.

There’s no substantive evidence that proves whatever chemicals used to make Axe’s scented personal care products actually stimulate sexual responses from women. But, in general, the olfactory is strongest in women than in males and woman are, therefore, more sensitive and reactive to smells. Axe gives deodorant, body spray, and shower gel - what would otherwise be nameless household staples - a whole new significance for men. Both women and men mist themselves with perfume/cologne for sexual and sensual confidence - usually to attract members of the opposite sex - and this campaign exploits that motivation.

And there are sexually provocative ads that don’t even bare skin; just simply having the word “SEX” in the ad is effective enough to grab and hold attention.

The new Sobieski “Truth in Vodka” marketing campaign attempts to dispel the ridiculous marketing claims of competing vodkas i.e. this vodka will make you the life of the party, or that vodka will get you laid. Instead Sobieski aims to market the quality and taste of its vodka without using the gimmicks that generally prevail in alcohol ads. But by using the word “SEX” in its ad, Sobieski is still playing the same dirty game its competitors are playing.

Here’s why: Word activation studies show that there are certain key words that instantaneously trigger a reaction in our brains. “Sex” is one of those words, whose use in an ad makes the tactic a cheap and thoughtless strategy to get and hold attention. The use of the word is an easy way to attract attention, but consumers (generally) are too smart for it. Unless sexuality is relevant to the brand strategy or the product, exploiting the word “SEX” demonstrates a lack of creativity and class.

A brand where sexuality is obviously relevant is Victoria’s Secret. Victoria’s Secret’s has carefully crafted a sexually-sophisticated image. Women who want to be associated with that image, either for their own pleasure or for that of someone else, willingly pay for it.

Here’s an ad infused with sexuality that I DO like, but whose product may not be sexually relevant:

The commercial is illustrative of that vicarious after club/after drinking scene between two strangers who share an immense mutual sexual attraction. If you’ve been there done that, or even if not, this commercial tingles your senses. And does it sell the jeans? If anything, the commercial certainly sells an emotion, which it associates the Levi’s brand with. The message is “Wear these jeans and you’ll feel sexy and adventurous”. Not a bad way to think of your jeans, especially if you’re the type of person who’s confidence is defined by what you wear.

Another example of “sexy jeans” is Calvin Klein. CK affiliates his brand image with sexuality and has always claimed “Jeans are about Sex”. For well over 30 years, sex in one form or another, has been a mainstay in Calvin Klein fragrance, fashion, underwear, and accessory ads. Even though the apparel and style is, in my opinion, nothing worth noting, the sexual image of the brand is what gives it allure.

Similarly, Abercrombie & Fitch publishes controversial catalogs that reveal more nudity than the season’s assortment, illustrating the fact that the retailer sells a brand identity, which then sells its clothes. Closed windows in Abercrombie’s mall storefronts create an intrigue and a sense of exclusivity that draws customers in, even though their assortment is hardly identifiable without the Abercombie label on it.

So I like sexy ads, and if anything there isn’t enough of it in the States (damn our Puritanic roots! - The Levi’s commercial was a product of London). If a brand wants to associate themselves with sexuality and their product is relevant, I’ll like it as long as it’s done with taste. And what I mean by a tasteful sexy ad is one that is more sexually suggestive than sexually explicit. No exposed skin necessary, just a storyline that allows the audience to discern the sexuality themselves and leaves something to the imagination. And because the audience is smart and generally desires a degree of romance, intimacy, and love, they’ll understand the message. But if sex is used merely to draw attention to a product that has no relevance to sex, then long-term success is not likely.

This next one shows a lot more skin and is more than just suggestive; it’s blatantly throwing the message SEX + BEER = GROUP SEX in our faces.

No class but a weak attempt at humor.

Axe Commercials:
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Sobieski Ad: “Truth in Vodka”
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Levi’s Ad: “Secret and Lies”
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Guinness Commercial:
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Harvey Nichols (or “Harvey Nicks” for short) and Aardman Studios are collaborating to promote the Fall grand opening of their newest location in England’s westcountry city of Bristol. Aardman Studios is enlisting its talent pool of Wallace and Gromit in a photo shoot featuring high-end brands carried in Harvey Nichols stores.

Wallace sports an Alexander McQueen navy cashmere and suit, D&G white shirt and a Giorgio Armani tie. Gromit sports a navy silk Paul Smith scarf.

The collaboration between the London based department store and the local favorite “actors” Wallace and Gromit seems to utilize a small scale example of glocalization.

The Bristol originated Aardman Studios, founded in 1976 by Peter Lord and David Sproxton, creates animation films, which due to the use of stop-motion techniques, are to long-term projects that take years and a lot of patience to complete. In 1989, Nick Park’s Oscar winning “Creature Comfort” short had put Aardman Studios on the map, allowing Park to introduce to the world Wallace and Gromit:

I love animation

Harvey Nichols, founded in 1813, is “an international luxury lifestyle store, renowned both in the UK and internationally for the breadth and depth of its exclusive fashion merchandise” (Harvey Nichols). The luxury lifestyle store (I will refrain from using the word “department store” now) features high street brands like Gucci, Bottega Veneta, Marc Jacobs, Prada, and Tom Ford. With locations in London, Hong Kong, Saudi Arabia, etc., the brand has decided to open its doors in Bristol, England. The opening of a Bristol store signifies their need to increase consumerism in a largely populated city of 400,000+ that has been “undershopped”. The city of Bristol is known as a hub for culture. My favorite examples include:

• Birthplace of trip-hop or “Bristol Sound” (Look up artist Massive Attack).

• Finalist for the 2008 European Capital of Culture.

• Bristol University graduates include Simon Pegg and Nick Frost (Look up my favorite movie Shaun of the Dead).

• Daniel “I Drink Your Milkshake” Day-Lewis and Gene Wilder studied at Bristol Old Vic Theatre School.

• Darth Vader (David Prowse) went to Bristol Grammar School.

The campaign’s marketing treats Wallace and Gromit like real people, suggesting that although they are characters with only clay intestines, they are a part of Bristol’s culture. Or perhaps Daniel Day-Lewis was unavailable. Regardless, Wallace and Gromit are given the VIP treatment in Harvey Nichols’ personal shopping department. Even Harvey Nicks marketing director Julia Bowes keeps to character by saying that “we are delighted that these two characters so close to the heart of Bristol agreed to appear in our ad campaign…I hope that now they have started they will continue to shop with us.” It is very clever to take beloved yet fashion-inept characters like an oblivious bald man and his dog and put them in trendy high quality clothes.

Wallace poses in a suit by Paul Smith, and Gromit wears a pair of Ray-Bans and purple silk scarf by Duchamp.

They’re better than mannequins, because they’re faces we recognize (perhaps especially for the people of Bristol). They’ve lovable and they’re out of their element, which like their short films, is always the case. We pay more attention to them clothes modeled after the actual brands. The glocalization effect is seen here. If Harvey Nichols is becoming more and more an internationally known company, it should cater to each location’s clientele.  By utilizing Bristol-originated local favorites in their promotions, Harvey Nichols may give people a sense of familiarity and ownership of a brand they enjoy.

I have only seen the photo shoot images and would suspect a promotional video utilizing Wallace and Gromit will not be seen. Stop-motion animation is an amazing art but is a highly time-consuming one. I would love to see Wallace walking down a fashion runway via some motor monstrosity and seeing Gromit come to save the day in his Duchamp scarf, but I doubt that this type of effort would be made for a “lifestyle store” opening. Regardless, overall the campaign seems like good publicity for both companies, giving Harvey Nichols some great connection with Bristol culture, and Aardman some good PR while they work on their next project. Hopefully another Wallace and Gromit film!

Below is the behind-the-scenes clip “When Wallace Met Harvey” of the Harvey Nichols/Wallace and Gromit photo shoot, featuring Nick Park himself along with the art directors:

Click here for the higher quality video on the Harvey Nichols official site.

If your local department/lifestyle store featured local stars/artists/famous personalities, would you be more likely to patron the store? Why or why not?

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Client: Vespa
Product: Vespa S, a re-issue of the 1970’s classic Vespa with characteristic square headlights and mirrors. The current bestseller has a round light and round mirrors.
Agency: Dentsu Canada

What?

Five Canadian cities (Montreal, Ottawa, Toronto, Clagary and Vancouver) were invaded by scooter-headed hipster cut-outs, Dentsu’s Canada’s street propaganda that promoted the new Vespa S. The army of seven-foot-tall black-and-white SquareHead ads appeared on dumpsters, vacant storefronts and other urban areas littered with graffiti.

What does the Brand stand for? What’s the Background?

Vespa scooters have long embodied that iconic retro, urban Italian lifestyle that is very much in vogue right now. The brand marries both fashion with practicality, and I would dare to say that the word “Vespa” is as synonymous with the word “scooter” as “Kleenex” is with the word “tissue”. The pragmatic consumer who wants a scooter as an alternative to automobiles will choose a Honda or a Buddy scooter, but the person who wants to make a fashion or personality statement will pay a premium for a Vespa. And for the Vespa aficionado, the unique characteristics that distinguish the Vespa S from other Vespa models are key.

What is the Marketing Objective?

Although I don’t have visibility to the sales objectives, it’s apparent from the inherent exclusivity and obscurity of the message that Vespa is relying on Vespa owners to recognize the ads. And it’s the veteran Vespa riders who will appreciate the return of that classic straight-edged silhouette, while newer and younger riders seek the more contemporary and bubbly look that is currently trendy. Other onlookers will either be curious enough to get it or not, and the ones who do will bring new business to the brand.

Who is the Target Audience?

The target audience of this campaign is the urbanite who chooses a scooter as a practical alternative for zipping around in metropolitan areas. But not just with any scooter. The Vespa rider will sometimes pay twice as much for a Vespa - just like those who will choose the $150 Jordan Basketball shoes over the Payless Knockoffs - for the name, the look, and the “performance”. Prices for a Vespa range from $3K - $7K, whereas similar Honda scooters (excluding the wannabe motorcycle looking ones) range around $2500. For this target audience, their identity needs to convey a message of panache, regardless of the costs. So this demographic is not just riding Vespas, they’re wearing Vespas, hence the Vespa SquareHeads.

To uncover what sparks that Vespa allure and to get deeper into the minds of the Vespa rider, Gary and I went around downtown SF to ask a random sample of people what they think of scooters.

So it looks like Vespa is a well-established brand known for reliability and urban lifestyle. The brand has a niche culture of fans similar to, for example, that mustang-gear-head culture depicted by those grease-monkeys who spend hours restoring their classic 1955 Thunderbirds. But the brand also appeals to a younger generation simply because the brand marries practicality with Italian cachet, a look imported by that generation of American students for whom backpacking through Europe is a rite of passage.

Good job video-editing, Gary!

What does the Target currently think of the Product? Are they thinking about the Product at all?

Given the state of the economy, consumers are weary of rising gas prices and their declining purchasing power. Guys with big trucks are buying motorcycles, riding classes have never been more popular, and the DMV folks have never issued so many M1 licenses. A Hitwise search word report I pulled in June show that the most popular search term in the automotive industry is “motorcycle”.

This means that consumers are definitely considering alternative means of transportation, and the two-stroke engine is becoming trendy. So as more and more people are looking into motorcycles and scooters, that niche of fashion-conscious urbanites who are looking into the two-wheeled alternative will then definitely be looking into Vespas.

How does Vespa want to be seen? What is the Brand Tone?

The Vespa S is a nostalgic return to the classic 70’s Vespa look, and the black and white color scheme brings us back to those nostalgic days when disco, ‘fros, and bell-bottoms were in vogue. The look and feel of the cut-outs also suggest grunge and rebellion, yet a certain down-to-earth, casual, understated sophistication. The wardrobe style of the cut-outs isn’t defined by any season’s trend, and has a non-exclusive universal look that plays it safe and can be relevant to any decade, and is, therefore, relevant to the two Vespa sub-cultures mentioned above. Think Eric from “That 70’s Show”.

And what’s great about the cut-outs is that instead of directly telling consumers how stylish and cool the Vespa S is, the images allow consumers to figure that out for themselves. No words, no brand mark, just images that blend well into their grungy backgrounds. Vespa is about design, so their ads should embrace art and design too. And as for the brand-tone in these ads, if you don’t get it, then you’re not cool enough for it.

What is the media idea?

There are millions of brands and products competing for our attention, and each of us is exposed to over 3000 brand messages a day. As consumers become quick to flip the channel when a commercial comes on and train their eyes to ignore online banners, advertisers are coming up with more creative ways to interact with consumers. And a method that exists outside of the 30-second broadcast spot and other standardized rules of engagement is “guerrilla marketing”, and Dentsu Canada successfully embraced this marketing tactic as part of their campaign strategy to capture at least of few seconds of our attention to make us think about the Vespa S.

The street propaganda creates a certain intrigue as onlookers wonder if these cut-outs are part of the graffiti landscape that surrounds them or some kind of marketing stunt. Initially I thought that these cut-outs appealed exclusively to the Vespa aficionado, who would be quicker to recognize the cut-outs as a marketing message. It might then have generated a lot of hype and discussion amongst that group, and subsequently, they’ll influence their friends with their opinions. And then perhaps those who don’t have an older and more classic Vespa in their collection would be eager to get one. But what about the normal non-scooter riding bystanders? My guess is that they’d initially dismiss the ads since they’re irrelevant. But if these people saw the ad every other corner they turned, they’ll start to wonder and their curiosities will peak, and if they’re curious enough, they’ll eventually figure out the message. And perhaps they’ll go and fill up their cars and see how gas prices are eating away at their wallets, or get on a crowded bus on a hot summer day. They’ll remember the 7-foot tall glorified graffiti ads and start thinking of alternative means of commuting, and perhaps they’ll think of Vespa.

My Criticisms:

I’m a huge proponent of guerrilla marketing tactics, so this campaign really grabbed my attention especially as I am in the market for an alternative to my Toyota 4Runner (I just got my M1 license!). The cut-outs are great attention-grabbers, but aside from piquing curiosity and asserting Vespa’s casual coolness, I would’ve liked to see a call-to-action. Perhaps the Squarehead cut-outs could’ve pointed to a central ad where a location for a Vespa publicity event is indicated. And this publicity event could’ve taken place somewhere similar to NYC’s Central Park where people can test ride Vespas - a sort of “product sampling” - on a charted course around the park. Test-riders who have positive experiences zipping around the park on the Vespas will start to think that they could really make scooters a part of their life. This reminds me of Universal McCann’s “It’s Better with the Butterfly” guerrilla tactic for Microsoft’s MSN8. In this campaign, 16,000 butterfly stickers appeared overnight on Manhattan buildings, windows, and sidewalks, forming a trail that lead from Times Square, where MSN had a major billboard, through to Central Park where a promotional event was taking place.

And why not women cut-outs? Women are just as much a part of the Vespa culture as men are. Think Donna from “That ’70’s Show”.

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What does the Vespa brand mean to you?

BBC Sports has taken a page from history in its approach to advertising TV coverage of the 2008 Olympics in Beijing, China. Other than the typical action shots of gold metals, spectacular athletic feats, and the Olympic torch, BBC Sports has collaborated with virtual band Gorillaz co-creators singer-songwriter Damon Albarn and artist Jamie Hewlett to create a promotional campaign that utilizes the Chinese “Journey to the West” story:

The ad, titled “Journey to the East”, is a 2-minute animation, which incorporated traditional pencil-paper techniques and computer FX, took 12 weeks to complete. The animation takes essential qualities from the Wu Cheng’en’s “Journey to the West” story, which written in the 1590s, is known as one of the four great classics in Chinese literature. The story (Check Wikipedia for the full story background), basically is about how the East has become a land that “knows only greed, hedonism, promiscuity, and sins”. The journey of a monk and his 3 companions (Monkey, Pig, and Sandy) to India is to bring back the Buddhist sutras, which will bring “transcendence and persuasion for good will” back to the East.

The “Journey to the East” animation incorporates not only values and beliefs from the “Journey to the West” classic, but also the Olympics’ core values. As stated on the official Olympic site, “the Games have always brought people together in peace to respect universal moral principles.” The event is a symbol of our choice as a people to put aside our political and historical differences in a moment of time to celebrate our diversity and strengths as a single people. China’s historical stories are infused into the “Journey to the East”, embodying the fundamental core meaning behind the Olympics, and as a result, puts China in a position to be less about the growing problems revolving around human rights, pollution, etc., and more a symbol of growth, prosperity and peace.

There are many elements through the entire 2-minute animation that embody the spirit of the Olympics. The characters Monkey, Pig, and Sandy symbolize how we are only mortals and mortals make mistakes, but with enlightenment and a second chance, we can be great.

Monkey

Like an Olympic runner, Monkey is agile and fast, but like any mortal, he can be excessively violent and had rebelled against Heaven when he was previously the Great Sage Equal to Heaven.

Pig

Perhaps the strongest of the three companions, he “often gets himself and his companions into trouble by his laziness, his gluttony, and his propensity for lusting after pretty women.”

Sandy

Previously Great General who Folds the Curtain, Sandy was “banished to the mortal realm for dropping (and shattering) a crystal goblet of the Heavenly Queen Mother.”

These characters, originally immortal members of Heaven, made terrible mistakes, but they fundamentally are good and are given a second change to redeem themselves by utilizing their skills in the quest for the Buddhist sutras. The Olympics showcases athletes and their talents. More so, they are representatives of the best qualities in humanity. Not only the physical, but the respect, mutual admiration, and honor. Outside of the Olympics, we may be regular mailmen, teachers, and office workers, but at the Olympics, we rise to the occasion to fulfill our human potential. Regardless of China’s own problems with human rights and its political stance with countries like Taiwan and Tibet, the message is that we are all given second chances (every 4 years perhaps?) to reach for gold. Progress takes time and we struggle along the way. In the end of the “Journey to the West”, when the monk and his companions succeed in their quest, they are all rewarded: Monkey and the monk achieve Buddhahood, Sandy becomes an arhat, and Pig becomes an atlar cleanser (he gets to eat the leftovers. Shoot, where do I sign up that??).

The promotional ad is full of symbols that connect with the Olympics. Even the Olympic stadium is in the form of a bird’s nest, which in many parts of Asia, is the key ingredient in bird’s nest soup, because it is “rich in nutrients which are traditionally believed to provide health benefits, such as aiding digestion, raising libido, improving the voice, alleviating asthma, increasing concentration, and an overall benefit to the immune system.” Cannot be a great athlete without being healthy, mind, body and soul!

The utilization of the storytelling medium and the new techniques of animation and TV show a remix of tradition and progress that embodies China’s desire for a positive self-image in the world. The BBC correctly wants to show China as wanting to be a progress leader while using traditional values. The campaign’s use of morally grounded stories shows traditional values can transcend time and is relevant today. It is interesting that the title of the animation is “Journey to the EAST” and not “Journey to the “WEST”. It is a clever word choice that hints to China being where the “transcendence and persuasion for good will” can be found. Monkey and his friends travel their way to the Bird Nest Stadium to find where all the goodness in the world is. It is an image that is very optimistic and is what the Olympics holds dear.

The campaign is effective in taking two qualities that many Chinese care about when it comes to the perception of their country by other people in the world: modernity and traditional values. Also, Albarn and Hewlett are using engaging animations to connect to the audiences that are either unfamiliar with the story and its characters but are intrigued, or the audiences that are familiar and nostalgic. The characters, setting, and emotion connect to what the Olympics are all about: putting a positive message of hope, prosperity, and progress. The remix animation is a great bridge for the 2008 Olympics to show that history is the constant teacher and can guide us in our future. It is in the present where we must act.

“The past is history. The future is a mystery. The present is a gift.” Just wanted to throw that quote out there for fun! ?

Do you believe China’s image will become more positive after the Olympics?

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BONUS:

Here is some “Behind the Scenes” in creating the characters from the “Journey to the East” Olympic promotion, which are based originally off a live stage adaption by the same Gorillaz creators:

Wouldn’t it be nice to wake up to a world where riots are conducted in pillow fights instead of blood and guns, where lying politicians are exposed by their Pinocchio noses, and where nice Manhattan apartments cost $300/month? Well when you have an ABSOLUT martini in hand, that world is within your grasp. ABSOLUT Vodka’s new “In an ABSOLUT World” campaign is challenging consumers to re-evaluate the status quo by presenting a very bold and optimistic worldview that embraces humor and social awareness. Why can’t we settle arguments with feather pillows?

Pillow fights…

Components of the Campaign:
1. Print executions
2. Broadcast spots
3. Out-of-Home Public Relations: New York, Los Angeles, San Francisco, Miami, Las Vegas and Chicago
4. On-Premise promotions
5. Viral activity: On May 14, ABSOLUT began a week of guerrilla activities in New York that made the city an “ABSOLUT World” for one week. Consumer activities included rickshaw rides in Soho and the Meatpacking District, music downloads in Union Square, Metro Card giveaways and VIP treatment at select downtown restaurants and clubs, all compliments of ABSOLUT
6. Interactive experience at www.ABSOLUT.com
7. Roll-out strategy: 12 International markets, niche market consumers (minorities and LGBT)
8. $33-$35M budget

Objective: To use all the communication opportunities of the 21st century to bring alive the ideals of the “ABSOLUT World”, and continue to attract consumers to the ABSOLUT brand.
Target audience: Urbanites ages 25-34

Unlike ads that tell consumers what to think through a top-down marketing approach, ABSOLUT’s new campaign simply offers a fresh perspective on the world and engages the audience to interpret its meaning. “The new campaign visually answers the question: what if everything in the world was a little bit more Absolut? It’s not necessarily about perfection, but about making the world better by seeing it with fresh eyes,” said Rob Smiley, Creative Director at TBWA/Chiat/Day/New York. The objective is to encourage a dialogue between customers and the ABSOLUT brand.

The market for premium vodka is competitive. ABSOLUT really took off in 1985 when the brand had few competitors and convinced pop artist Andy Warhol to paint the bottle, launching the brand’s ongoing collaboration with top artists and fashion designers like John Galliano, Gianni Versace, and Tom Ford. But in 1998, the launch of the “Super Premium” French vodka Grey Goose - and the ensuing crop of pricey copycats such as Ketel One and Belvedere - has changed the game and nipped away at ABSOLUT’s market share. Even Donald Trump has his own line of Super Premium vodka! As competitors encroach on its market share, V&S is looking to places like Mexico (as noted by one of the images above), Brazil and China - where a growing middle class is emerging - to fuel growth. ABSOLUT is also marketing to minorities and continuing its support of the LGBT community. So despite the intense competition, ABSOLUT rests as the top-selling imported vodka in the U.S., where 60% of the world’s vodka is consumed, and its success can be accredited in part to advertising. Companies that advertise during and after recessions usually grow at the expense of competitors who have reduced their ad budgets.

The moon as a giant disco ball…

Although vodka has nothing to do with how one views life, the “ABSOLUT World” campaign has a strong message that leaves something to the audience’s imagination. This campaign, therefore, sets ABSOLUT apart from its competitors who market their brands with a top-down approach, where advertising is telling people what to think and do, and not really allowing them to make up their own minds about the ads meanings. This really demonstrates the competitors’ inabilities to shift consumer perceptions and behaviors. See Ketel One’s ad below:

Case in point

Consumers are bombarded by ads all the time, and we have evolved to the point where we can recognize commercials that concern or interest us and grant them at least a few seconds of attention. But even at that point, ads often fail to make the necessary connections to engage with us because the message didn’t align with our motivations and desires as consumers. I noticed ABSOLUT’s print ad as I was reading TIME Magazine because the images really caught my attention, and for a second, I thought it was the preface to an article about the social ideals of some journalist. I realized it was an ad for vodka when I saw the copy and the ABSOLUT bottle to the right of the images. But because I was already intrigued by the alluring images, I continued to engage with the ad by reading the copy - which was almost poetic - that was in black type against a solid white background (below):

In an Absolut World
We question everything.
We challenge assumptions
and defy conventions.
Because that’s the first step in making things better.

In an Absolut World
Reality is only a starting point.
The last stop before imagination takes over
And we create a new world
As ideal and inspired as our vodka.

In an Absolut World
It’s not about right or wrong
Only what if and why not?
We never claim the last word.
We only begin the conversation.

In an Absolut World
Justice is always poetic.
Optimism is our point of view.
Wit and style are the means to an end.
And everything is as carefully crafted
As what we put in our bottles.

In an Absolut World

I didn’t think the copy was necessary, and I would’ve been satisfied with simply just, “In an ABSOLUT World, we ask ‘What if?’ and ‘Why not?’”. I understood the message, but it was as if the Creative Director really wanted to drive it into our minds in case the audience couldn’t interpret the message from the images. And I would’ve preferred the copy to be set in reverse print (black background and white print), and set next to brighter images to create more contrast. Regardless, this ad married a phenomenal creative execution with the ability to engage readers in a dialogue with the brand. Although there really isn’t an identifiable call-to-action with this campaign aside from just reinforcing the ABSOLUT brand, the campaign definitely challenges us to act on our optimism and to express our own visions of the world. And even if your worldview isn’t as optimistic, maybe they will be after a couple rounds of shots.

Swim away your fat…

In an ABSOLUT World, anyone can be Kanye West…

Does this campaign inspire you to choose ABSOLUT over other brands of vodka?

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