THE AURORA FACT FILE: Client Advertising Spend 2008-2009

Basic Confusions

By Muzaffar Manghi

In the beginning there were many, many billboards. Everyone and their aunt owned one, and all their cousins advertised on them. And that too, very poorly.

Then came an angry, middle-aged man, no one seems to remember, and he started plucking these monstrosities out of the ground. There were few survivors. While some grieved for their loss, agencies rejoiced. Such is life, sunset leads to sunrise.

Agency folk believed that as the clutter had gone, advertisers would ‘wisen up’. They believed they would learn something and that henceforth magical advertising would appear on the billboards. The sounds of music and laughter echoed through the design studios.

The gods of advertising were not happy to see agency folk rejoicing and happy, so they planted a seed in the hearts of a few confused men and women that advised them to write and say EVERYTHING on a single billboard.

‘The billboards cost more,’ the voices said… ‘Justify your job,’ they whispered.

Henceforth, all was doomed. Clearly, agencies and clients are yet again confused about the basics; like adding too much text, having more than one visual, not letting the visual tell the story, and finally, telling the whole story.

Brand: Alokozay

Campaign: Katrina Kaif endorsement

Message: Alokozay is here. I guess.

Effectiveness: A classic case of a client assuming first, that they can ‘own’ a colour, and second, that people will slow down their cars and get their families to look at the billboard with as much interest as he/she did while in the boardroom. Way too much text. Way too much yellow. No one can own yellow. God owns yellow.

Verdict: The yellow packs on the yellow background are a perfect recipe for a yellow disaster. What an utter waste of a celebrity. When will agencies and their clients realise that they just cannot superimpose a celebrity on a brand and hope to achieve anything more than short term sales? A celebrity must have an attribute that is intrinsic to the brand. What Katrina has to do with a cup of tea, I don’t know. Sure, she’s a brand ambassador, but could there not have been a more engaging interaction between her and the brand? Or did she do this for free?

Brand: Tetra Pak UHT

Campaign: Boiled milk vs. UHT milk

Message: Boiling milk at home reduces its nutrition.

Effectiveness: I can tell that this started off as a well intended project, and it turned out like one as well. Not only does it use a visual device (the battery) intelligently, it relies on the visual to deliver the message (as opposed to the caption). It doesn’t presume that people will stop to read it; it acknowledges the average person’s attention span. The cut out of the kid and the basketball hoop make it attractive to look at; it’s an old technique but it works. As a creative, I should probably never say this out again, but perhaps the logo could have been a bit larger. It seems to be competing for attention. Lastly, the caption has a bit too much text.

Verdict: Hardworking, yet catchy and attention grabbing. Very effective. I particularly liked the intelligent selection of sites.

Brand: L’Oréal Paris

Campaign: 100 years of beauty

Message: A global beauty experience commemorated in Pakistan.

Effectiveness: What is the billboard trying to tell me?

That beauty is a phenomenon that occurs frequently in the L’oréal world? That beautiful women are everywhere.

That beauty should be declared and celebrated. It’s a lovely sentiment, from a gorgeous brand. However, all is not well in the land of milk, honey and flawless skin. I’ll tell you what’s wrong: an art director who has something against beautiful women. What we have here is a platform for something dramatic: a larger than life brand, gold as a preferred color, sexy women against a solid and mysterious black background. But why a ‘now in Pakistan’ was added, I don’t know. Perhaps someone might think we are talking about Park Towers in Venice. And the gold speckles. Again, such a fantastic opportunity to create drama, yet executed half-heartedly. It’s not about who notices it or not! Beauty is about perfection. Fact is, if you are selling beauty, then everything about that ad needs to be beautiful. Every decision needs to be as critically thought out as a woman’s decisions to match her shoes with her dinner. Why is there so much text, why is every word starting in upper case, why is the font so small, and why did this end up in an orgy of different font styles?

Verdict: It still works FAR better than most billboards, but is that ‘good enough’ good enough? Why can’t we just befriend the devil, for she is in the details, and then give the devil her due?

Brand: Nestlé Everyday

Campaign: Mug promo

Message: Get a free mug.

Effectiveness: I like, I like, I really like. Neat, clean, visually driven, easy to understand, simple in messaging. Just what a billboard should do.

Verdict: As I am critiquing, the copy could have been better, in the sense that it should not have given away the whole story. It would have created a more lasting impression if it had left just a bit to my imagination; if it had let me figure a bit of it out on my own. Still, I like it. When I see billboards as neat and pretty as this one, I notice the other stuff around me and think about how wrong design in general has gone, not only in Pakistan, but in so many other places as well. Design is not just the outcome of a pack. It is a manifestation of what the end user hasn’t thought about. That’s what makes it surprising, refreshing and endearing. Design in advertising sometimes is seen only as design for ads, layouts and grids. Yet design in any field is all encompassing. We need to think beyond cartons and 27x4s.

Brand: Peki

Campaign: Peki launch

Message: Peki gets you laid.

Effectiveness: On the left, we have a cute-ish girl gobbling a cake. She looks like she’s happy, but then again, when was the last time we were fortunate enough to see an ad where someone wasn’t happy. On the right, we have four bars of Peki cake, and at the bottom we have some scribbling in Urdu. So far it sounds like a typical no-brainer billboard. What really intrigued me was the company name bang in the centre and in bright red. What drugs could have compelled an art director to do something like that? On the flipside, I do like the name Peki. It’s a little brave, and gives me a feeling that I should eat this cake when I feel like a snack. It sounds yummy and is very campaignable. Maybe they should have done without the girl, and just had a massive cake.

Verdict: I don’t remember the company name, or what the billboard says, nor do I remember the number of flavours or SKUs they were attempting to advertise. I do remember the girl. But not what she looks like. Maybe if they used a little more yellow like Alokozay, I wouldn’t remember any of it and be a much happier person.

Muzaffar Manghi is ECD,

Red Communication Arts, Publicis Pakistan

screw79@yahoo.com

THE AURORA FACT FILE: Media Advertising Spend 2008-2009

The new consumer order

Forget about the brand loyalist, writes Patrick Collister. It’s time to work with the brand participant.

David Ogilvy famously said once, “The consumer is not a moron, she is your wife.”

And wives have never been morons. They can see through flim-flam and have always been able to make up their own minds about products.

Nowhere is this more true than in the literary world. Take Captain Corelli’s Mandolin as just one example. Trashed by the critics, word of mouth turned it into a bestseller. And if consumers had believed the critics, then J. K. Rowling would still be sitting in an Edinburgh café wondering how she was going to make ends meet. At the other end of the scale, despite the millions Hollywood spent trying to persuade us that Raise the Titanic was one of the great must-see movies, it still sank like a brick.

Consumers can spot a turkey when they see one.

In the UK last year, a major FMCG company launched a new toilet tissue impregnated with cocoa butter and, dare I say it, as launches go it was a stinker.

82% of all new product launches in the USA failed last year. That’s because they were products that consumers could see no real need for.

Marketers bravely come up with new extensions, new variants and new takes on old brands just to try to keep us interested and most of the time they fail miserably. Still, the money they spend does help keep the economy chugging along and right now it needs as much chug as it can get.

The point is, consumers have always had more common sense than marketers and you would imagine that in all those research groups they are given the opportunity to help brand managers avoid expensive mistakes. After all, in the UK research is now a one billion pound industry.

It’s not that marketers are not listening, but that they are asking all the wrong questions and in the wrong ways and in the wrong places. In truth, the consumer has changed, yes. But that doesn't mean we need to change how we address him and her. It means we have to change everything we do; how we organise our companies, how we manufacture our products and how we price them.

As a result of the digital revolution, the consumer can be, even should be, an active participant in the four P’s of marketing – in helping to create the product then place it, price it and promote it.

A handful of brands have ‘got it’ and it is no surprise these are ‘youth’ brands, because our youth are actively seeking out the brands they aspire to, and they appreciate and demand involvement.

Take Doritos. In America in 2006 they held a competition inviting people to make a TV spot for the brand, which would be shown in the middle of the Superbowl Final to over 50 million viewers. The prize was fame.

Nearly 1,000 videos were submitted and on the night of the Superbowl they ran four of the spots and invited viewers to go their website to vote for their favourite ad.

Doritos® - Crash the Super Bowl 2010 Winner: Underdog

What they were not prepared for were the many visitors who wanted to talk about how much they love Doritos. These fans had ideas for the packaging, ideas for new flavours, ideas about how to get new customers. In essence, the website had become a big friendly focus group.

They listened to their fans and responded by creating new Sweet n’ Spicy Doritos. But before launching the new variant, they created an online competition to find the sweetest girl and the spiciest guy. This was a website where kids could upload photos of themselves and details about what made them sweet or spicy. An algorithm determined how long visitors spent looking at each of the applicants and selected the 12 young people who had the most time spent looking at them. The dozen were invited to take part in a reality TV show on MTV, where teen viewers could watch and phone in their votes for the sweetest girl and the spiciest boy.

Once the couple had been chosen, then Doritos were able to announce: “now you have chosen who will star in the TV campaign to launch the product you designed, all you have to do is write the commercial.” Doritos fans have been engaged in new product development, launch strategy and in creating the advertising. And they loved it.

The new consumer doesn’t so much want to be a brand loyalist any more, as a brand participant, and as is so often the case these days, the advertising industry lags behind others in understanding the implications of this.

Radiohead is an alternative rock band in the UK with a cult following. They realised early on that their website could be a place where their fans could get actively involved in the band.

Most websites are simply online brochures offering absolutely no reason at all to the visitor to return a second time. Radiohead set out to get their site bookmarked and regularly visited by writing a blog. Whereas Britney Spears is said to hire in people to tweet for her, Radiohead actually do write the blog themselves. In 2007 the band launched In Rainbows from their website, inviting customers to download the album and make whatever payment they felt was fair.

It is said that 82% of their fans thought paying nothing at all was fair. However, those that did pay, did so over the odds and bought the special ‘discbox’ with extra goodies included. By the time they had finished, they made over four pounds per CD and had created enormous buzz as well and a nice warm feeling.

Their next move was to release the single Nude but in five different parts which you could download from iTunes to remix yourself. They invited fans to upload the remixes to the website and vote for them. The number one remix garnered nearly 250,000 votes.

Now, think about it.

The numbers tend to be that for every brand activist – in other words someone with the time, energy and interest to create a video – there are another nine prepared to vote. But behind them there are another 90 who are more passive but who are watching. In other words, the Nude remix initiative probably reached over 20 million music lovers.

Nine Inch Nails is another innovative marketer with rocker Trent Reznor showing many brands how sharing enthusiasms and ideas can be profitable. But it means brands have to listen. And maintain a conversation.

In the old days, advertising was the business of creating messages every now and then and measuring the effect. Now you can tell within hours what that effect might be and amend your communications accordingly. It means you have to have someone, if not entire teams, creating your communications daily. Not every once in a while.

It means, rather than spend a million pounds on a TV campaign, you might be better off hiring four or five people to blog and twitter for you.

Zappos, the US shoe company which has just been acquired by Amazon for nearly one billion dollars, grew its business by having a team of people whose job was just to respond to any and every mention of them as a brand and any mention of shoes on Twitter or Facebook, and start conversations. Turnover grew from 0 to 300 million dollars in seven years and not a single ad involved.

While television advertising remains the single most powerful means by which marketers can reach mass audiences, the model is changing rapidly. Social media is becoming more and more important and this is providing marketers and their agencies with new challenges. It’s not enough to create B to C messages. Now you have to have ideas that allow and encourage C to C communication.

In 2009, the RNLI, a charity dedicated to saving lives of stricken sailors at sea, wrote to a dozen young video bloggers and asked them: Is your generation really as selfish and as stupid as your elders believe? The result was a torrent of argument and debate online before RNLI put out a video explaining what they were doing and why. So far, the video has received nearly one million views on YouTube, reaching a swathe of youngsters who had previously been unfamiliar with the charity and its important work. The number of volunteers has significantly increased.

The old consumer called this word of mouth, and it was always the most powerful of all advertising tools. It still is. But whereas the old consumer used to pause and chat on street corners or in the supermarket café, the new consumer has myriad more places to go and sound off.

She also knows that together with like-minded souls she can bring pressure to bear on even the largest companies; www.babymilkaction.org is a group engaged in getting as many mums as possible to boycott buying Nestlé products because they find Nestlé “to be responsible for more violations of the World Health Assembly marketing requirements for baby foods than any other company.” One day, Nestlé will stop ignoring what people are saying about them and start to listen because if they don’t their business will be damaged.

The trouble is, like so many organisations, they are working hard to preserve the status quo, to keep processes and procedures exactly as they are.

The companies that will succeed in these bold new times are those that actively set out to create and manage change, knowing that if they do not, change will come and engulf them anyway.

It is not so much that there is a new consumer nowadays as a whole new order.

Patrick Collister is Editor, Directory magazine. He is former Executive Creative Director and Vice Chairman, Ogilvy & Mather.
patrick@directnewideas.com

Guy Winston's Presentation at Aurora's The New Value Seeker's Conference

Part 1

Part 2

Part 3

Part 4

The New Value Seekers

The consumer is king in every way but are brand managers paying attention? Marylou Andrew reports.

Consumers have always been in flux, there is nothing new about that. Some develop new needs over time, others have changing tastes and still others find new ways of looking at old things. This simply highlights the importance of the golden rule of marketing: know your consumer (at all times).

But if people are generally subject to change, why all this talk of a new-age consumer? Many experts say it is because the pace of change is far more rapid now than ever before. This begs the question: who are these new consumers and what are the characteristics that define them?

Before answering this, it is important to remember that there is no ‘typical’ consumer.

Consumers are differentially evolved and savvy, i.e. different types of people change at entirely different paces, and in a country like Pakistan, where gaps in income and education vary drastically, these differences are even more pronounced. With that proviso in mind, the following three factors have been important in shaping the new-age Pakistani consumer.

1. Access to Technology

Technology has always been an important driver of change in consumer behaviour. Even people at the lowest rungs of income and education now own or have access to a television and a mobile phone. On the more evolved end of the spectrum, there are the smartphones, the MP3 players, the PSPs and the internet, which with its hundreds of social networks and websites gives people the chance to share views and opinions with peers and to generate and publish their own content.

2. Expansion of the media

A by-product of access to technology, Pakistan’s media scene has seen significant evolution in the last decade, much of which has been centred on the electronic media. People in both urban and rural areas now have access to many more TV channels, and FM radio has become extremely popular.

3. The impact of the financial meltdown

Pakistan may not have been as badly hit by the global economic meltdown as the West, but the recession (and internal security issues) have destabilised the rupee, leading to levels of inflation that were previously unheard of. According to the CIA World Factbook, Pakistan’s rate of inflation was 20.3% in 2009 – up 167% from the previous year. In addition to this, there has been a virtual shutting down of consumer finance in 2009, which for several years had been a major driver of auto, durable and home sales.

Fleshing out the new consumer

Marketing experts unanimously agree that an increased sense of awareness is the key characteristic of the new consumer. Sara Amjad Qureshi, Senior Planner, JWT Pakistan says that “a mere decade ago, Pakistani consumers were not as aware, well informed or sophisticated… [now] consumers are no longer naïve or willing to settle; they know what they want and ask for it.”

On the one hand, consumers have a great deal more information about brands, on the other, they have many more brands to choose from – at the top end there are the international brands flowing in by legal and illegal means, and at the bottom end there are the regional, mushroom brands that are giving mainstream brands a run for their money. These two factors combined have given today’s consumer the confidence to demand that companies give them the brands and products they need, rather than mindlessly consuming what they are given.

Two excellent examples of categories driven by consumer demand exist in the Pakistani market. The first are the healthy food alternatives, where even as late as 2005 there were very few options for health conscious consumers. However, look at the aisles of any supermarket now and there is evidence that brands have responded to the health drive by introducing green tea, low calorie sweeteners, brown sugar, skimmed milk, low fat yoghurt, low cholesterol margarine, etc.

The other example is the convenience foods category. As consumer lifestyles have become fast paced, the need has been for food that is uncomplicated and hassle free. This has spawned the birth of a number of companies which offer ready-to-cook and ready- to-eat meals as well as frozen foods of every imaginable variety. Both examples underline the simple fact that the consumer is in control.

To further complicate matters for brands, this new, controlling consumer is price sensitive and bargain driven – as a direct result of inflationary pressures. This does not mean that people are not buying anymore, but rather that they are looking for value (or perceived value) for money from their purchase.

Arslan Ashraf, Managing Director, AC Nielsen Pakistan, says studies show that people living in inflation hit economies generally do not compromise on their regular household purchase items, but will cut corners on luxuries and try to find product categories where they can down trade to save money.

If down trading is difficult (and it can be in Pakistan due to the absence of good second tier brands or private labels), consumers practice what Amjad calls, ‘conjunction consumption’.

“They may buy Lux soap for their guest bathroom but Lifebuoy soap for themselves.”

As a result of conjunction consumption (and because they are spoilt for choice), consumers are no longer brand loyal. Muhammad Zubair, CEO, Foresight Research, explores the many issues surrounding brand loyalty in detail on page 40 (see A question of loyalty). However, in an interview for this story, he explained that new-age consumers are defined by unstable brand preferences.

This instability is intensified by increased access to peer review and opinion. People have always been influenced by what their friends and family tell them about brands, but thanks to the internet, there are thousands of consumers worldwide to tell them exactly what they want to know. Peer reviews offer the kind of credibility and relevance that advertising and brand promotions are unable to provide.

Marketing to the new value seekers

Therefore if consumers are changing, it should follow that the way brands talk to them has to change too. People are no longer in the places they used to be. Instead of being at home in front of their TV, they are in shops, supermarkets, parks, cinemas and restaurants. And even if they are at home, brands probably have a better chance of catching them on the internet or on their mobile phone. This is not to say that TV is unimportant, just that it is easier to get lost in the clutter of 70 plus channels.

But catching the consumer is not enough – engagement is the new buzzword and it is here to stay. New-age consumers (according to a 2008 edition of the Journal of Brand Management) are “empowered by information, but time poor… [so they are] driven by value seeking… value for time, value for attention and value for access to their personal information.”

This basically means that if a brand’s message is not relevant or engaging enough, consumers will filter it out. Thus the many touch points available to brands have to be infused with the value of customised (and memorable) messaging.

On page 34, Ali A. Rizvi (see The new rules of engagement) calls on marketers to re-examine their use of traditional and non-traditional media to reach the new consumer. On page 16, Patrick Collister (see The new consumer order) says that it isn’t enough just to re-look at the use of media, brands have to make consumers brand participants from the get-go (in product development and brand communication) because that is the kind of interaction people are looking for.

Engaging consumers, particularly via experiential marketing, concur Amjad, Khan and Zubair, will be important in ensuring brand loyalty.

However, there appears to be a disconnect between these views and those expressed by brand managers in Aurora’s survey (see Keeping custody from page 6 onwards). When asked what practical measures they have applied to give consumers a reason to buy their brand, most brand managers still seem fixated on consistent quality, awareness, popularity and recall. While all these elements are important, are they enough to hook in the new, value-seeking consumer?

It seems unlikely. Consumers are already quite aware of the marketing gimmickry they are confronted with. Now more than ever, they understand the concepts and rules which govern the promotion of products and services. Obviously marketers will view this as a challenge, but there is also the opportunity of starting a conversation between the marketer and savvy consumer. However, this does not mean that all consumers want to have a conversation. Just like consumers are differentially evolved, brand managers have to be differentially responsive. While some consumers may have the time and inclination to be involved in the participative model Collister refers to, others may simply want a brand that is responsive to their needs.

Nevertheless, the one constant that remains, to quote a cliché, is change. Consumers are in charge and they are constantly changing. It is time for brand management to sit up and take note.

Tales from Bollywood

Tyrone Tellis draws a few apt marketing lessons from Bollywood legends.

Love it or hate it, you just can’t ignore the Indian media barrage. It’s there, and from the look of things, it will be there for some time to come. I, for one, decry the scandalous and boring content of the Indian dramas, where everyone seems to be rich and attractive; the unprofessional attitudes and theatrics of the stars in the music-based reality shows, and the low level of entertainment value in Bollywood movies. It’s sad to see the regression in Indian cinema – standards have fallen drastically – they may outstrip Hollywood in terms of quantity, but quality is seriously lacking.

Perhaps this is the reason why people from both sides of the Wagah border remember with fondness and regret the halcyon days of Indian cinema, when stars like Rajesh Khanna and the young Amitabh Bachchan strutted the stage. Truth be told, there was a time when all three Woods – Holly, Bolly, and even our now defunct Lolly – were on par in terms of grace, charm and style.

In those days, the celebrities who came along not only revolutionised Indian cinema, they also had a big impact on how that country’s culture evolved. Nowadays, everything is related to marketing. We are taught that you have to market your brand, your company, your image, even yourself. The most recent example was Obama’s successful presidential campaign, which was the result of savvy and insightful marketing by his team as well as thousands of motivated volunteers. However, the people I want to talk about here did not have the luxury of reading Kotler’s books on marketing or had access to the tools and research methods that we have today. Yet, they made it big and turned their ‘brands’ into household names, not only in India but in the Subcontinent if not the world. How did they do it? Was it instinct, good luck, or both?

A HERO’S TALE

Shammi Kapoor had a problem. He wanted to become a Bollywood hero, but he knew he could not compete on level terms. In the mid-50s, Indian cinema was ruled by a trio of stars: Raj Kapoor, with his Chaplin-like antics, Dev Anand the down to earth debonair lover, and Dilip Kumar, a powerful actor with a talent for serious roles. Shammi knew he wasn’t like any of them. Judging by a string of failures acting in serious roles, he knew that if he was to break into the cinema industry he would have to do something radically different.

His solution was pure genius. Realising that he didn’t fit the market, he changed the market to fit him. He created a new type of hero; vibrant and lively; dashing and charming and also a bit of a rogue. His strategy worked. Whether he was a very intelligent marketer who foresaw the changes that were to come in lifestyles and music globally, or whether his timing was right in terms of reaching out to a new youth culture is a question up for debate. But whatever the case, his new look hero was an instant hit with the young. To ensure his success, he enlisted Mohammed Rafi as his playback singer, making the already established Rafi the voice of Shammi Kapoor.

Marketing lesson: I remember reading in (I think it was) The 22 Immutable Laws of Marketing by Al Ries and Jack Trout that if you can’t be first in a category, then set up a new category you can be first in.

A TALE OF TWO KS

In the late 40s, a young man from Bengal went to Bombay to visit his older brother who was an actor. After trying a few minor acting roles, he decided he wanted to be a singer like K.L. Saigal, the well known playback singer. His brother, however, advised him not to waste time trying to become a singer and concentrate on acting instead. This sound advice was backed up by a few industry experts as well as conventional wisdom, which all dictated that his voice and style were not suited for Bollywood fame. Fortunately, the young man didn’t listen, and although he took on comedy roles, his passion remained singing. Eventually, after some years in the wilderness, he made it big with hits such as Yeh Shaam Mastani and Chingari Koi Bhadkay. By now you have probably realised that I am talking about the legendary Kishore Kumar. As a dedicated Kishore fan, I shudder to think what would have happened if he had listened to the seemingly good advice given to him.

In the chapter titled, ‘Kenna’s Dilemma’ in his book Blink, Malcolm Gladwell deals with the weaknesses of market research and how it affects marketing. For those of you who haven’t read Blink – Kenna is a singing sensation; he is loved by the record industry experts (the manager of U2 flew him to Ireland for a meeting) and by musicians such as Fred Durst of Limp Bizkit fame. However, when his songs were given over for ‘testing’ in front of a sample audience, the results were negative; listeners rated him very poorly and the conclusion was that he was not star material. According to Gladwell, the issue is basically that Kenna is ‘different’ and that different is ‘problematic’. Why? People usually respond negatively to something different not because they dislike it, but because they do not understand it. This is why Kishore was told he could not be a singer; he didn’t suit the image in terms of tone and style.

Gladwell also deals with the problem of context. Market research, especially product tests, are conducted in an artificial environment, and yet, consumers do not interact with products in a sterile space; they meet and use them in the real world. We produce ads in agencies and test them out in research agencies, or in what we consider to be close to real life situations in workplaces, colleges or homes. However, what we fail to realise is that in the process we are shutting out a lot of the stimuli and distractions that a consumer experiences in daily life. Our close to real life situations are not close enough!

Marketing lesson: Beware of relying on research too much (especially when considering a product launch), as some people mistake a confused response as a negative one.

A TALE OF TWO SISTERS

As a small time actor herself, Shobhna Samarth wanted her daughters to become heroines of the Indian silver screen. She launched both of them in the same movie in 1950, but the movie failed to bring them fame and stardom. So what did Shobhna do? She packed them off to a finishing school in Switzerland. Her elder daughter, Nutan, was voted Miss India in 1952 and later became a leading actor, while Tanuja, the younger one, eventually gained acclaim as a heroine.

Marketing lesson: Sometimes instead of changing the marketing or the advertising, it’s better to tweak the product and change the packaging.

These examples are proof that the fundamentals are the same whether you are trying to launch an automobile or a Bollywood star. As it says in 22 Laws – marketing is not a battle of products, it’s a battle of perceptions.

Tyrone Tellis is a media planner.

tyrone.tellis@gmail.com