Tag: Evan Greene

CMO Insights: How the Grammys Became More Than a One Night Affair

Posted on by Drew Neisser

The Grammys have brought us some of the best moments in television, and the most spectacular performances in music. From Michael Jackson’s moonwalk across the stage in ’88 to the Elton John and Eminem duet in ’01, and most recently Lady Gaga’s tribute to David Bowie, the Grammys have been the place for historical moments in music. And if you’re like me, you brim with excitement before the show, and are unable to stop rehashing the night’s best moments for days after. One night a year, the telecast captivates people around the world and easily dominates the conversation on social. However, is the show on your mind for other 364 days? Well, I spoke with Evan Greene, a friend of mine and CMO of the Recording Academy, to hear how his team approaches the challenge of marketing a show that airs one night per year. Key words here: social, social, and more social.

Drew: What does your marketing purview include?

Evan: I can tell you that anything that touches the Grammy brand ultimately runs through the marketing area, whether it’s marketing and brand strategy, PR, social media, digital content and yes, partner strategy. We represent the biggest brand in music, and for other brands, there is value in aligning with us. We partnered with other brands to utilize the impact and the marketing reach of brands that are complementary to our own. Also, we are a 501(C) 6, a not-for-profit trade organization, and this affects our marketing strategy.

Drew: How does it affect your marketing partnerships, specifically?

Evan: We put together marketing partnerships so that we can leverage the impact of the Grammys, which is unparalleled in terms of credibility and prestige. On the flipside, the value that partners bring to the table opens up other marketing channels. Now, because of the prestige of our brand, there is a value associated which means there still needs to be an economic model in place.

Drew: Was there partner integration for Lady Gaga’s performance? Did Intel do the projection?

Evan: Yes. This was the first time when we partnered with a company to actually help us enhance the performance. If you notice, there was no Intel visibility or attribution on the telecast because we wanted it to be subtle. We focused on making the performance memorable, something that people would be talking about for a long time. At the end of the day, Intel received a tremendous amount of credit and earned media.

Drew: And with that comes months of hard work and constant communication between Intel and the Grammys.

Evan: Yes, there was a lot of heavy lifting and coordination. We put something together that had never been done before. There were things that happened on the Grammy stage from a technology standpoint that have never been put on television. It really was the next generation of Grammy moments, right before our eyes.

Drew: Every year, you challenge your agency to do some new things. Let’s talk about the new things that you did this year in terms of marketing and social.

Evan: This year we started thinking about the inspirational power of music and the intersection between music and sports. Sports came in because it was SuperBowl 50 and it ran on CBS, eight days prior to the Grammy Awards, which created an extraordinary opportunity to bring the two together. We engaged our agency of record, Chiat/Day, which in my opinion is one of the best shops on the planet.

Drew: How was the concept further developed?

Evan: We started from the standpoint of how do we celebrate sports and music. How do we align the best in music with the best in sports, globally? What came out of that was a powerful tagline, called “Witness Greatness.” We looked at the music that inspires the athletes who in turn inspire the world. “Witness Greatness” really is about the inspirational power of music, and we could apply that in a number of ways.

Drew: So you were able to move beyond just the “Witness Greatness” tagline?

Evan: Yes, it was not only the theme and tagline, but also the visual representation and how we applied it. We then applied the theme to social and made sure that any visual we associated with represented greatness. We made sure to elevate that conversation whenever and wherever possible.

Drew: How did your team focus on the witness portion of “Witness Greatness”?

Evan: We have a companion stream, sort of a shoulder programming experience called “Grammy Live.” It shows different angles and elements, not necessarily the telecast itself, but it shows backstage etc. This year, we inserted a camera inside the base of the Grammy statute so that we could actually witness greatness in a different way-from the position in the POV of the statue itself. We got some great footage and content that had never been captured before. 

Drew: After the Grammy team fully adopts the theme, I’m guessing the next step is for the media to pick it up?

Evan: Yes, and was amazing when the media starts quoting our taglines, and when other members of our social ecosystem started organically using the “Witness Greatness” hashtag. When I think about all the touch points, from those doing social to the persons pitching media stories, to our marketing partners, there is a consistent look and feel across the board.

Drew: Any favorite projects from the “Witness Greatness” theme?

Evan: There were a couple of components that I found particularly exciting. If you go on our YouTube page, youtube.com/thegrammys, there is a video that we did with Kendrick Lamar in his hometown of Compton. We went on the street, and asked people to sing a couple of lines from his song Alright, which has become sort of an anthem over the past year. We created a video of all of these individuals singing particular lines of the song, and at the end, it culminated with an impromptu performance and the tagline was “Greatness Comes From Everywhere.” This served as a drive to the Grammys. 

Drew: I know the Grammys has worked with user-generated content in the past. Can you give an example of how you used UGC in past seasons?

Evan: Several years ago, we had a campaign called “We’re All Fans,” and it underscored the idea that what makes an artist great are the fans. With that in mind, we invited fans to upload videos of themselves and become part of the campaign. That was probably the most organic example that we had. People actually got to see themselves as part of the national Grammy campaigns, creating mosaics of Lady Gaga and other global superstar artists.

Drew: How was UGC executed for this Grammy season?

Evan: The idea really drives the execution. This year, our campaign was about creating the conversation, engaging with fans and having them share what about their favorite artists represents ‘Greatness.’ So in terms of UGC, we didn’t invite video submissions this time around, but we focused on having respectful dialog with our fans and followers about inspiration and greatness.

Drew: The reviews have been very successful on social. Obviously, you’re at the center of the social media conversation during the show, but you’re still very present months after it aired. How is that even possible?

Evan: I think we’ve been very successful and I am happy with the work of our social team and everybody involved in that effort. I think we can get better, I really do. The core reason for this year-round success is respecting fans and speaking with trust and authenticity.

Drew: What are some of the mistakes you are seeing other organizations make with their social media?

Evan: When communication seems gratuitous, and it is focused purely on making a sale or driving behavior, consumers see right through that. We simply want to be a credible part of the music conversation. When you look at the brands that resonate and break through, it’s the ones that earn your trust. If you speak with authenticity, and you respect your audience, then that becomes the cornerstone of trust. Trust is how you build a long-term relationship.

Drew: Being a nonprofit, how do you allocate the money brought in from the Grammys?

Evan: The money that we make doesn’t go to pay dividends, meet a quota or achieve net profit goals. It’s filtered right back into the music industry so we can create more in-school music programs and empower the next generation of music makers. We give back in a variety of different ways to enhance and srengthen the industry platform that the Recording Academy sits on.

Drew: One of the other things that you’ve done over the years is expand the Grammys from Grammy night to Grammy week. I feel like this was Grammy month. Where are you right now in terms of the scale of the Grammys?

Evan: I think we’ve made a considerable amount of progress over the years, but we still have a ways to go. What has struck me is that we’ve built this massive brand with a tremendous amount of impact by virtue of a single television event held for three-and-a-half hours, one night per year. The marketing opportunity that creates is enormous. If we take a proactive brand management approach, how impactful and powerful a brand could we be if we continue to extend throughout the year?

Drew: What a challenge! How do you rate progress? 

Evan: I think we have expanded the impact of the Grammy as a brand, beyond simply one night per year. I do not believe that we are anywhere close to being there yet where people started thinking about the Grammys as a relevant brand they need to interact with in June, July, and August. But like I said, we’re making progress and there are a number of exciting things on the horizon.

CMO Insights: Making Music’s Biggest Night Even Bigger

Posted on by Drew Neisser

If you think the nominees for the GRAMMY awards are nervous, imagine for a moment you’re the CMO of what is officially known as The Recording Academy.  That man is Evan Greene and every year he is tasked with outdoing the previous year, a bar that keeps getting higher and higher.

In 2014 for example, TV ratings were the 2nd highest in 15 years, reaching over 28 million viewers who in turn generated roughly 15 million tweets and 13 million Facebook interactions. That’s a whole lot of buzz, buzz that is by no means accidental.  Evan and his team, supported by long-time agency Chiat/Day, continue to find innovative ways to engage, inspire and motivate an army of fans to not just watch but also share their experience.  This fan-centric approach requires management of thousands of little pieces, but Evan has done it in style, and it’s no surprise that he won a Marketing Innovation Award at this year’s CMO Awards, sponsored by The CMO Club.  Here’s our interview just in time for the show Sunday night and to send good karma out to Evan in LA.

Drew: One of the presumed reasons some CMOs don’t innovate is that there is more risk involved. Is there a tolerance for risk in your organization and/or do you have ways of mitigating the risks involved in bringing truly innovative programs to market?

There is tolerance to risk…to an extent. I have pretty broad latitude to implement forward-looking initiatives. However, we are still a pretty conservative organization, so that upside risk must be balanced by the potential downside consequences, which for a not-for-profit entity, whose primary asset is its brand/IP can be significant.

Drew: The Grammys is such a unique brand. What do you think is the biggest thing other marketers can learn from the on-going success of The Grammys?

While we are certainly a big brand, we aren’t really that different from other brands in that ultimately it comes down to trust. Authenticity is the cornerstone of trust, so you must respect your audience, and be as authentic as possible in everything you do.

Drew: What did you do in 2014 that you are particular proud of from a marketing perspective?

I don’t think it was any one thing. When you look at the ultimate result of our year-round efforts, which is our metrics around the GRAMMY telecast, we over-delivered on every possible measurement – ratings (2nd highest in 20+ years), social engagement (34MM+ comments on GRAMMY Sunday), sentiment (99% positive), revenue (consistently up year-over-year), it is our overall success that comes from carefully planned strategic efforts that I am most proud of.

Drew: Looking ahead, what do you hope will work better in 2015?

Better, more engaging content, better use of analytics.

Drew: How are you as CMO staying on top of all the new digital marketing techniques and opportunities?

Reading everything I can, and constantly auditing the market. I’m always trying to learn from others’ successes…and failures…

Drew: What tool, product, or service has been the single greatest improvement to digital marketing for your brand over the last year?  

I don’t think there is any one tool. I think our strategy has gotten smarter…and we are finding better, more effective ways to use data than before. I believe the ultimate winners and losers will be determined by who is best able to identify, understand and harness the data available to us as marketers.

Drew: Do you have a content marketing strategy?  

This is an important area for us, and we are in the process of reviewing our entire content strategy, and revising it in a pretty significant way. I will have more to share on this in the coming months as our new strategic focus comes into play.

Drew: Storytelling is a big buzzword right now.  Is your brand a good storyteller and if so, can you provide an example of how you are telling that story?

The best, most immediate example I can point to is our yearly telecast marketing campaign. We have endeavored, rather than simply placing a bunch of music artists on a spread or in a tv spot, with the message to ‘Watch the GRAMMYs,’ to weave a compelling narrative that connects with the music fan in an emotional, visceral way. I’m very proud of the work we have done with our agency, Chiat Day to more deeply weave our GRAMMY brand into the fabric of popular culture. We will launch this year’s effort in early December, and we will again approach it from a dynamic storytelling standpoint that will set our communication apart from anyone else in our category.

Drew: As social media matures, what adjustments are you making to your approach to social in 2015?

We’ve been trying to take a more holistic view of our social activities, meaning that we want to be smarter about the conversation we are having with our social ecosystem on a daily basis. We want to provide more value to the conversation, and become more of a trusted resource, and this requires a longer-term view of the relationship we have with our friends, fans and followers. It is not as much about short-term gratification. Rather, it is modifying tone, vibe and spirit of our dialogue to have a more consistent, engaged dialogue.

CMO Insights: Social Media Innovation

Posted on by admin

As CMO of the Grammys (officially titled National Academy of Recording Arts and Sciences),  it would seem that Evan Greene doesn’t have to go out on a limb to create engaging content. Most fans are already engaged, eagerly awaiting the next photo or tweet about their favorite music artist. But he and his team maintain that the biggest contributor to their success is their dedication to listening to those fans and joining them in dialogue, which is not quite as easy as it sounds.

To dig into this more, I had the pleasure of moderating a breakout discussion with Evan at The CMO Club Inspiration &  Innovation Summit in New York City last month.  It was a lively conversation with about 40 other CMOs covering a wide range of social media challenges, many of which Evan and I addressed on the spot (and rather pithily I might add!).  Since I am not a great notetaker, I recorded Evan’s responses, which are transcribed below for your reading pleasure. Given the GRAMMYs extraordinary success overall (ratings were 2nd highest in 21 years) and on social (13.8 million tweets during the show generated 862 million impressions), you’ll want to read on…

Could you talk a little bit about your planning process?
Our campaigns need to engage people and if they don’t, then social media is not going to help and we usually abandon it. It’s really for us about having a very respectful, two-way dialog that we think is engaging on a daily basis. We don’t come from the standpoint that we’re the authority, that we’re the expert, that you should listen to what we say, that we want to tell you what to listen to, who to follow, how to dress, what to do. We simply want to be where music is happening. We want to be a credible voice in music.

And the thing that we’ve discovered, the sort of the universal truth that we’ve hit upon over the last couple of years, is that people generally are looking for two things. They’re looking for discovery and they’re looking for community. And if we can enable the idea of discovery and empower the concept of sharability, then we are, by default, going to be leading to a greater, more robust community.

Can you share some of the innovative things that you’ve done in the last couple of years?
Innovation really is simply how do you add more to the conversation to make it more interesting on a daily basis? So some of the things that we did this year were simple, but engaging. For example, we’ve now live gif-ed our nominations show and the Grammy awards telecast. So we’re now creating gifs in real-time.

We also expanded the size, the scale, and the scope of what we call our social media command center onsite at the Staples Center during the show where we have more bloggers from more diverse areas from more diverse music genres and we try to get more people to tell our story for us. Because it’s one thing if the GRAMMYs talk to you about it and tell you about it. It’s another thing if people that you know and like and respect and trust are telling you about it.

How does content marketing fit into this discussion?
For The GRAMMYs, it’s all about content. Granted, we’re a non-for-profit trade organization, so we don’t have the budgets that you probably think we do. But we’ve made a pretty sizable investment in our content infrastructure because we want and need to be creating a lot of content. For example, we want to be creating engaging, short, episodic video pieces that are easily digestible and easily shareable.

In a lot of ways we’re fortunate because music overlaps and enhances so many different areas. A good example is the intersection between music and sports. So six years ago, at the Beijing Olympics, the biggest story was what’s on Michael Phelps’ iPod as he’s going in to compete for 8 Gold medals.

So we thought, since there’s always been that overlap between music and sports, we created a content program called Champion’s Playlist where we talk to professional athletes and say, “What’s on your iPod? What do you listen to to train, to get motivated before the big game, before the championship?” And this starts to become a shareable experience where you can now overlay what your playlist is with your friends’, you can see how some of these famous athletes, how their playlists overlap with your own. This gives us the opportunity to create a leaderboard, et cetera.

So you’ve done all this stuff. How do you measure it and do you try to differentiate social metrics from your broader metrics?
The easy answer is what are your ratings and how much money are you generating. Well, I look at it another way.  I see all of that as a consequence of everything else that we’re doing right on the front end. If we spend a whole lot of time on the front end, being really true to and respectful of our brand, and really making sure that we do the work to fill the pipeline, and if we create that conversation, if we create that relationship with music fans everywhere, then we’re going to be rewarded by people watching the show, we’re going to be rewarded by 99 percent positive sentiment. We’re going to be rewarded by the fact that our marketing partners are more engaged and happier than they’ve ever been before. Our revenue is going to increase. I think if we focus on the revenue and we focus on the ratings as the objective, it skews the narrative and it skews the story.

It used to be how many Facebook friends you had, right? And then it was, what’s the sentiment? But now the questions are getting a lot more detailed and a lot more sophisticated. And so that’s why listening is changing all the time. That’s why you need people who have access to the full Twitter fire hose. You need people who are doing more than just sort of skimming the surface with Google analytics.

We spent a lot of time talking about listening as a customer service channel and I think everybody recognizes that as a doable thing in social. I’m curious if any of you are listening for customer acquisition opportunities and if you’ve been able to systematize that and talk about that.
It is about credibility, and gaining the trust of your customers. You need to be where your customers are, and not necessarily only your own Web-site, and seek to create evangelists. So if your business is photography sales, you go to a photography forum where people are talking about a new camera. So, from a social media standpoint, don’t try to sell people with a link to your website and a price. Rather than talk about this new camera, utilize the buzz that is already happening organically, and re-tweet or re-post other credible voices in your community. Trust and credibility are powerful tools toward acquisition.

Well, you also brought up an interesting point which is sort of empowering employees to be social voices for the company as opposed to trying to control the conversation centrally.  Can you explain the advantages of this decentralized approach?
The key is, I think there’s so many divergent conversations happening all the time about all our respective businesses and the key is how do you channel those conversations. How do you channel all those disparate conversations into a cohesive dialogue? And I don’t know that there’s one answer to do that but one of the things that we did is we created what we call our Social Media Bible which has all of our correct URLs. It has all of our proper hashtags, all of our handles.

We distribute that to all media, and all of our friends, fans, and followers. We distribute it to artists and managers, labels, anybody that can possibly be having a music conversation. Now whether or not they’ll follow it is another story. But when everybody’s got the same consistent inputs and the same data, the results are usually stronger than they would have been otherwise.

Do you have any ideas as to how one can track word-of-mouth marketing and be able to then put some type of ROI to it?
I think one of the biggest fallacies and one of the biggest misnomers about social media is that it’s free and easy. And I think right now, the next big step is figuring out how you can track word-of-mouth marketing and be able to put an ROI on it.

How do you measure measurement analytics? What’s the value of having a bunch of Facebook friends? Is it the aggregation of tonnage? Is it who’s passing it along? All of that is being parsed right now and I don’t think anybody’s got the answer but there are some companies that are getting a lot smarter about it.

How do you approach social media innovation?
We try a lot of different things and the down side of trying a lot of things is that you fail sometimes. But every once in a while, you get it really right. And if nothing else, we’re always learning. Sometimes we make the right move, sometimes we don’t but we’re always in there. And frankly, the deeper you are into social media, the more you hear about trends first. So you can sort of pivot down the river and play around over here and see if it works and if it does, great! If it doesn’t, you just come back to where you were.

Marketing Insights on the Social Media Fitness Study

Posted on by Drew Neisser

One of things I’ve always liked about my business is the diversity of marketing challenges that are out there. For example, it’s hard to imagine two more different situations than those faced by Stacy Braun, SVP of Marketing at AXA Equitable and Evan Greene, CMO of The Recording Academy (better known for The Grammys.)  Yet when you drill down a bit, especially in the social media arena, you’ll find that smart marketers share a common commitment to understanding their target, engaging at all the right touch points and establishing metrics for success. Both Braun and Greene were kind enough to answer some of my last minutes questions related to the Social Media Fitness Study. I think you’ll find what they have to say quite interesting.

DN: Can you speak to the benefits of having a cross-disciplined social media team?
Braun: At AXA Equitable, we see the benefits of having a cross-disciplined team in driving the social media strategy and execution for our organization. Because social touches so many areas of our business, it is important to have a coordinated effort that engages all key players in our decisions around this evolving platform. This ensures we are thinking through all of the nuances that can impact our brand image, our PR strategy and how our employees, advisors and customers are engaging with our brand. While a cross-disciplined team may require more check-points along the way, the result of having collaboration and insights from all key areas of the firm ensures that we “own” the experience together.

Greene: It depends on your goal. Rather than simply using social as a tactic, the most effective brands use social as an organic part of everything they do. Therefore, a cross-discipline team, that touches many areas of the company is an effective, collaborative approach.

DN: Can you talk about the benefits of doing a social media audit?
Braun: We conducted a social media audit about a year ago and it proved extremely helpful in understanding the opportunities available to us. By looking at competitors in our industry, as well as companies in other categories, we recognized the potential of social media, which helped us set our priorities for the year ahead. It also helped us refine our social media guidelines for employees, and identify new ways to use social to proactively enhance our brand image.”

DN: What compelled you all to set up a social media training program?
Greene: With social media still being relatively new, and touching everyone either in their personal lives, or at work (and often in both places), there are no standardized rules. In fact, the rules continue to evolve almost daily. Therefore, with so much at stake with brand image and reputation in today’s fracturing marketplace, companies are well served to establish clear parameters that can be consistently applied and followed across their organizations. Otherwise, simple, sometimes innocent mistakes can happen and be disastrous to a company’s brand and reputation. When this happens, it can be very difficult to recover.

DN: What are the advantages of having a real-time dashboard?
Greene: Metrics are crucial. Listening and monitoring are really becoming the new frontier. After all, the better you become at interpreting the data, the more effective conversations you will be able to build with your social ecosystem, and the deeper the engagement you can create.

How This Major Brand Incorporates Social Media

Posted on by Drew Neisser

Turns out a number of folks tuning into The Grammys last night didn’t know who Paul McCartney is.  Really.  See Buzzfeed. That’s just one of the challenges the folks at The Grammys face when marketing Music’s big night to multiple generations of music fans.  For the record, this particular boomer blogger thought the show rocked and the associated marketing was worth singing about too.  As such, I am working on a case study/article that should run next month.

In the meantime, I thought it would be timely to share part of my interview late last year with Evan Greene, the CMO of the Recording Academy, the folks behind The Grammys. Greene offers savvy insights into how his team developed their new campaign, how they measure success and how they integrate social media into their campaign from the get go.  (And by the way, if you are an app fan and a music fan, you’ll probably enjoy the We are Music iPhone app.)

DN: So, what are you doing new this year?
What we’ve really tried to do is continue to find innovation both from a macro and a micro standpoint, and as you and I have talked about, it really is about feeding the conversation, finding new and exciting and engaging ways to feed the conversation all throughout the year.   As we prepare for the Grammys again this year, we will again create a campaign that gets noticed, that gets talked about across the digital and social space and becomes more and more deeply into society and pop culture.  We’re going far beyond the idea of just promoting a television show or entertainment event.  We want to make sure that our message starts from a social standpoint and we emanate from there.

So, our campaign will be something that is easily translatable across all media, both traditional and digital media. It will be accompanied by a significant mobile presence, will be a micro site accompanying it, will be an app accompanying it.  We wanna make sure that we are part of the conversation in as many relevant and organic places as possible.  And it terms of sharing specifics, were about to launch the campaign and I can tell you that in terms of what I can share, I can tell you that in the past, you know we’ve really focused on music’s inspiration and its ability to connect us to a shared community.

DN: So this year’s idea is…
Its called, “We are Music,” and it’s about creating a visual interpretation of music, because if you look at the way music shows are traditionally promoted or marketed, its very simple, its “Hey, watch “x” show and see stars.  And the challenge is that its very one-dimensional and it doesn’t really say anything about the brand itself, and a lot of these award shows share talent anyway, if you watch one show versus another, you see the same artist in two or three or four of them. So, rather than just say the same thing as everybody else, how do we differentiate ourselves? We have to differentiate ourselves by becoming part of the story of people’s lives.

DN: Tell me more.
Were focusing on the idea that when we listen to music, we surround ourselves in it, it becomes who we are, part of our DNA, an extension of our personality, inexplicably linked with our identity, and our campaign, like music itself, is a driving pulse and is infused with energy and music.  So we think that just with that kind of simple concept that is executed very dynamically, that we’ve got something that will really excite people.

DN:  You said something really interesting in your intro; you said you wanted to make sure that the campaign starts in social. Why and what do you mean by that?
I think a lot of brands take the position that they’ll come up with an idea and then create a bolt-on digital solution or a bolt-on digital extension and what we’ve really endeavored to do and we’ve kind of indoctrinated this into our DNA here at the Academy, that everything starts from a digital place, everything starts as part of the digital conversation. Because, candidly, that’s how people are really communicating these days in a more aggressive and dynamic way, and so rather than create an idea that we think makes sense for a traditional “above the line” media approach, we started from the standpoint of “let’s create something that’s meaningful and organic socially” that can then and if we can achieve that, we think that the next natural extension is to be able to extend and engage across the board.

Because it’s hard to retrofit your idea into a digital realm and have it really make perfect sense.  So if you look at what we’ve done over the last several years, not only during the Grammys, but throughout the year, we’ve really been looking for ways to continue to feed the digital conversation around us.  And that’s really all that our campaign is, it’s another way to feed the conversation, its not the end all be all, the conversation’s going on, we’re all having the conversation all throughout the year, and the digital music conversation is certainly something that we’re part of for the other 364.  So really all were doing is finding ways to, more innovative ways to engage and get people interested in the conversation.

DN: I’ve seen the stat that showed that your ratings were up 35 % in 2010 due in part to the success of your “We’re All Fans” campaign. How did it go in 2011?
I’ll tell you, after 2010’s monster numbers, we were hoping that our campaign and our 2011 efforts would be good enough to remain flat but what we found was that our ratings were up over 3% in the aggregate, which is an extraordinary number for us. And the thing that’s really been gratifying and reassuring is that while we’re up 3% in the aggregate, we were up 4% in teens and young adults.

DN: Do you have an agency that helps you stay on the cutting edge?
We’re now on our 5th year of our AOR relationship with Chiat/Day, and many of these things that were talking about specifically related to our telecasted campaigns would not have been possible without Chiat.  We give them a brief of what we need to achieve and they do really some incredibly creative and dynamic things, so I couldn’t ask for a better creative partner than Chiat.

CMO Insights: Thinking Big

Posted on by Drew Neisser

I caught up with Hope Frank, CMO of Webtrends at The CMO Club Summit and look forward to seeing her at Pivot next week.  Hope thinks big especially when it comes to marketing and offers a positive assessment of 2011 and an outright bullish one for 2012.  It is safe to say that Hope lives up to her name.

DN: As 2011 winds down, are you thinking “good riddance” or “darn I’ll miss it?”
2011 was a pivotal year for digital marketing and businesses. Marketers are getting smarter about their programs and investments, which drives them to companies like Webtrends. We maximize marketing ROI, through optimization, testing, targeting and program measurement with our analytics offering. This is an area companies are laser-focused on. We are certainly looking forward to watching our industry mature in 2012.

DN: Looking back at 2011, what new things did you try that worked or didn’t work?
Webtrends has been on an incredibly steep curve of development to meet the immediate needs of brand marketers today. In 2011, we introduced the industry’s first unified analytics offering to provide brand marketers a view of their performance across mobile, social and web properties. Amazingly, we also introduced Webtrends Social, a complete social offering from ads to apps to analytics. Both of these developments have driven deep digital marketing success for our clients.

DN: Are you particularly proud of something you tried in 2011?
Without question it would be the globalization of our Webtrends products and services. In 2011, we opened our Japan office, and enjoyed tremendous growth from our EMEA, South America and Asia Pacific teams. Our products and services naturally translate to marketers globally who are looking to effectively measure their programs and discover new ways to engage their audiences.

DN: Is the current economic uncertainty effecting your plans for 2012, and if so how?
We do not see the current economic climate affecting our business in any negative way. In fact, we are seeing companies be smarter about their digital investments, driving them to our optimization and analytics solutions. We expect to continue to see strong growth in 2012.

DN: Looking ahead to 2012, are there some emerging trends that you hope to capitalize upon? If so, what are they and how important do you think these trends are to your business?
The shift of analytics from the IT department to the CMO will continue, as products continue to develop in the direction of clean, simple dashboards and interfaces that allow marketers to develop, manage and measure digital campaigns through intuitive tools and services. We have seen this unfold with “ahead of the curve clients” such as Zinio.

Zinio has been an avid customer of our analytics products and services and has applied it in a super intelligent fashion to shape their business. They don’t just sell magazine covers, Zinio sells the treasure of storytelling under the covers. Based on Webtrends analytics, Zinio is able to determine which articles are the most compelling and leverage those in their “Explore” section. Zinio allows for exploration and discovery of category-driven stories FOR FREE to complement the 5,000 titles Zinio sells. View examples here .

DN: Can you boil down your Pivot presentation to one or two key take-aways?
Genius in the Age of Enlightenment: Evan Greene, CMO, of The Recording Academy (The GRAMMYs) and Jeanniey Mullen, CMO of Zinio and VIVmag will join me to showcase creative innovation within social programs in music, fashion and publishing.

Key take-aways from our presentation at Pivot will include:

  • Don’t let the tools get in your way
  • Dive back into the art of marketing with jaw dropping concepts and creative
  • And a unified analytics approach to new creative and outreach is critical to ROI on digital

DN: Finally, among the trends I’m tracking are complexity (for marketers) and data-overload (for consumers). Can you comment on these?
Tackling complexity in analytics was another major achievements in 2011. We developed the only unified analytics offering in the industry. Webtrends Analytics 10 allows brands to measure effectiveness across their mobile, social and web properties, and see these measurements integrated in an easy to understand dashboard. It was a major step forward for our industry.