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Latest news from The Drum

NBC drops Trump: he responds by calling them “weak” and slams Brian Williams
Posted on Monday June 29, 2015

After NBC announced its plans to cut ties with Donald Trump moving forward following the offensive remarks he made towards Mexican immigrants during his presidential campaign speech, the reality TV star has responded by calling the broadcaster “weak” while adding “they will stand behind lying Brian Williams, but won’t stand behind people that tell it like it is.”

NBC will no longer air Miss USA or Miss Universe, both of which Trump previously co-produced with the network. He also will no longer host ‘Celebrity Apprentice.’

In a statement that he posted on his Instagram account, Trump responded to NBC’s decision with the following: “We must have strong borders and not let illegal immigrants enter the United States. As has been stated continuously in the press, people are pouring across our borders unabated. Public reports routinely state great amounts of crime are being committed by illegal immigrants. This must be stopped and it must be stopped now. Long ago I told NBC that I would not being doing The Apprentice because I am running for President in order to Make our Country Great Again.”

He also said that the Miss Universe and Miss USA contract he had with NBC “will be determined in court.”

During his presidential candidacy speech earlier this month, Trump said of Mexican immigrants: “They’re bringing drugs, they’re bringing crime, they’re rapists.”

Trump still stands by the comments he made.

NBC drops Donald Trump over his offensive immigration comments
Posted on Monday June 29, 2015

NBC has officially cut its ties with Donald Trump after the presidential hopeful insulted Mexican immigrants during his campaign speech earlier this month.

The broadcaster will no longer air the annual Miss USA and Miss Universe Pageants, which were part of a joint venture between NBC and Trump. He also will not return to host his long-running show, ‘Celebrity Apprentice.’

In a statement, the company said: “At NBC, respect and dignity for all people are cornerstones of our values. Due to the recent derogatory statements by Donald Trump regarding immigrants, NBCUniversal is ending its business relationship with Mr. Trump.”

Last week, Spanish-language broadcaster Univision said it will no longer air the Miss USA pageant after Trump said of Mexican immigrants during his presidential candidacy speech, “They’re bringing drugs, they’re bringing crime, they’re rapists.”

Shortly afterwards, NBC began distancing itself from the real estate mogul by stating that his opinions do not represent those of NBC.

The Three Ts marketers need to operate in today's programmatic environment
Posted on Monday June 29, 2015

By now most marketers know they need to give programmatic ad buying careful consideration. Research from eMarketer predicts 50 per cent growth in programmatic ad spending in 2015, reaching nearly $15bn. The field is growing rapidly, but the process can still be overwhelming.

To operate successfully in the programmatic space, a marketer must understand the three Ts: technology, trading, and transparency. A full understanding of these three factors of programmatic ad buying will provide them with a competitive advantage over their competitors.


Technology is the heart of programmatic ad buying, and for technology to match with a brand’s goals it requires a sophisticated set of tools and customization. The right programmatic software brings together raw data with the tools to analyze and translate that data into predictions and recommendations for maximum efficiency and performance.

Some of the tools marketers and agencies should look for include:

- A simple interface that enables unlimited access to all marketplaces from one place. This helps avoid redundant and error-prone data entry.

- A Data Management Platform that ingests and houses impression-level data, first- and third-party data and additional data from pixels across dozens of bidding technologies and marketplaces to serve optimization recommendations.

- A platform that enables custom integrations with Demand-Side Platforms to work around any of their limitations for enhancements at a client level, such as universal frequency capping and real-time data feeds.

- A bidder to listen for fluctuations in pricing trends, site traffic and availability across supply sources while also verifying other bidder activity.

- Access to data models created by historical data from previously traded campaigns and other types of markets such as financial and commodities.

- A recommendation engine that uses algorithms to analyze the highest and lowest performing segments, powered by aforementioned data models to advise creative and trading executions for maximum performance.


With the right technology, a marketer can buy a seat on a bidder, plug in budgets and CPMs, and run campaigns to find target audiences. However, to optimize campaigns, marketers must have an extensive knowledge of the programmatic landscape. 

Maintaining best practices around pricing, bidding strategy, and trading depends on constant evaluation and testing of solutions across the programmatic ecosystem. Marketers must have an understanding of the different programmatic partners, what they do, and how they work together. With this knowledge they can then decide which solutions make the most sense for their campaigns.

By limiting themselves to one partner, such as a DSP, some marketers limit their potential. It’s wiser to work across multiple bidders, channels, and inventory sources to gain greater access to data from all of these parties. This wealth of data provides the insights needed to understand what is working, what could work better, and how to change the trading strategy to improve results.


After gaining access to the right technology and perfecting a trading strategy, marketers must understand where, when, and how their advertising money is being spent. Transparency is a growing concern, as costs associated with partner fees and technology solutions aren’t always explained upfront.

The high prevalence of fragmentation and duplication in the ad space results in additional costs for marketers. Transparency can help minimize these costs by exposing the fees and pricing across all ad-tech vendors on a per-impression basis. Marketers should have access into every single option and piece of data associated with a campaign, alongside reports and dashboards for at-a-glance views into trends and performance.

With a holistic view of the different touch points of a programmatic transaction -- including who is adding value at each point -- marketers will be able to understand their return on investment for every type of campaign.

To take full advantage of the benefits of programmatic ad buying, markers must have a clear understanding of the overall programmatic process and ecosystem. Knowing the ins and outs of the 3Ts is essential for programmatic success.

Jim Caruso is the vice president of product strategy at Varick Media Management

Publicis Worldwide head Arthur Sadoun tasked with leading MSLGROUP
Posted on Monday June 29, 2015

Arthur Sadoun has been enlisted to oversee MSLGROUP, Publicis Groupe’s global PR firm, in addition to his current role as chief executive of Publicis Worldwide.

In a bid to integrate Publicis’ PR and strategic communications capabilities for all client campaigns, Sadoun will also oversee the MSLGROUP.

Sadoun will replace Olivier Fleurot who will join the Groupe's holding as senior vice president where he will head comms, corporate social responsibility (CSR) initiatives, real estate and insurance.

Maurice Lévy, chief executive of Publicis Groupe – and guest editor of the latest edition of The Drum, said: “This alignment is not at all about merging MSLGROUP with Publicis Worldwide. To put it simply, Arthur Sadoun will head the two networks and leverage MSLGROUP’s skills to design a new integrated approach.

“All this to the benefit of our clients and of our strengthened Groupe growth.”

Lévy concluded that the move would help simplify the Groupe’s corporate structure.

Boris Johnson unveils the world’s first double decker e-bus in London
Posted on Monday June 29, 2015

London has reimagined its globally renowned double decker buses as a new line of electric powered vehicles in a city wide pilot.

Speaking at the Clean Bus Summit at City Hall, mayor of London Boris Johnson confirmed that the new range of buses, while much larger than its single decker peers, is fully reliant only on electric power, which is known to release fewer emissions than hybrids and those running on gasoline.

The pilot will see 10 zero-emission electric double decker buses manufactured by BYD enter service on route 16 from October, running between Cricklewood and Victoria Station.

Johnson said: "The iconic red double-decker bus is about to become greener than ever. I could not be more pleased that London will play host to these exciting pure electric double-deck buses, and I'm sure the lucky users of route 16 will embrace it with gusto.

“London is a world leader in clean buses but we can't do it alone, and events like this Clean Bus Summit are key to making further progress."

Sir Peter Hendy CBE, London transport commissioner, added: “We have blazed the trail when it comes to green bus technology so it’s fitting that the first Clean Bus Summit should take place here in the Capital.

“The introduction of new electric buses and further developments like induction charging at termini for hybrid bus batteries will significantly improve air quality and provide our passengers with quieter and smoother journeys later this year. We continue to embrace new technologies as they develop.”

Furthermore as part of the green push, 24 cities involved in the pilot will roll out 40,000 ultra-low emissions buses by 2020.

Designers challenged by LogoMyWay with creating Donald Trump presidential logo
Posted on Monday June 29, 2015

Crowdsourcing website ‘LogoMyWay’ is asking its community of more than 20,000 designers to create a funny logo for Donald Trump’s presidential campaign.

Key points that must be included in the logo are his comb-over hair, his bold attitude, and his iconic line from The Apprentice, “You’re Fired.”

The winner of the competition will win $200.

Earlier this month, Donald Trump announced that he will be running for president in 2016.

Since his announcement, the real estate mogul has been wrapped up in controversy after he made offensive remarks about Mexican immigrants.

Facebook opens first Africa office in Johannesburg
Posted on Monday June 29, 2015

Facebook has opened its first office on the African continent in Johannesburg, South Africa, to help coordinate growth across the region.

The social network has stated it looks to grow the business to better connect Africans with each other – and advertisers on a local and national level.

Initially, the office will be focused with further cementing Facebook’s place in Sub Saharan Africa:  Kenya, Nigeria and South Africa, partnering with governments, telecom operators, agencies and more to increase the importance of the app to users.

Nicola Mendelsohn, vice president of EMEA at Facebook, said: “We are inspired by the incredible ways people and businesses in Africa use Facebook to connect. This momentum in Africa comes on top of strong advertiser partnerships and excellent adoption of our products across all regions.

“Mobile is not a trend; it’s the fastest development in communications we’ve ever seen. This couldn’t be more true in Africa – where so many people are mobile-only. This new office is a significant milestone for Facebook and our teams want to partner with businesses across the continent.”

There are 120 million monthly active users of the social network in Africa, with over 80 per cent of visits made on mobile devices.

The Daily Telegraph redesign review: Does it match its ambition of high-end elegance?
Posted on Monday June 29, 2015

The Daily Telegraph’s design changes, introduced on the 160th anniversary of its first edition, mark a further step along the road towards the inevitable future for print newspapers: that of luxury, added-value, niche products which sit alongside the digital news channels (where the real action happens).

The overall feel of the new look is understated and minimalist. The focus is on clean pages, unfussy details and simple layouts. The colour palette is muted, typographic contrast is limited. The ambition presumably was restrained, high-end elegance - a sort of Cartier of newspapers - and it is at least partially successful in this respect.

This, along with the increased body text size and leading and accompanying reduction in word count, chimes with the thinking that what’s important in print is the reading experience rather than the delivery of lots of news.

There is certainly nothing here to frighten away any of the remaining numbers of the Telegraph’s conservative and Conservative loyal print readers. There are no striking innovations or bold experiments. It is easy to imagine this morning’s edition being leafed through by the Brigadier and his Good Lady with a vague feeling that something was somehow a little bit different, before they settled down happily to the county cricket scores and the cryptic crossword.

In his page two introduction to the new look, Telegraph editor Chris Evans heralds an increase in the paper’s features, comment and analysis, all of which further underlines the trend of print becoming ever more an accompaniment to digital news services - print is the place where you go for a more reflective, leisurely take on events having been fed breaking news all day on your smartphone. It’s a lean-back luxury experience, and it’s this, presumably, that the Telegraph’s new design is meant to facilitate and accentuate.

It is, however, not 100 per cent successful. Evans claims that the new body text, Austin, will “make reading the paper far more pleasurable”.. Austin, which is also the headline font, is indeed a beautiful typeface (created by the illustrious Paul Barnes originally for Harper’s & Queen) but the Telegraph’s irregular text settings ruin its effect.

At display sizes the heavier and lighter weights of Austin work really well; the middle range weights look flat and old-fashioned.

The use of a 24-column grid for layout allows for wider columns for the big stuff and some narrow measure details but there doesn’t appear to be a consistent solution to making it work around adverts.

In the features pages there are some jarring details which are not in step with the rest of the newspaper - rules and tints and boxes which feel as though they have been imported from another design.

Much fuss is made of the return of the traditional gothic Daily Telegraph masthead which Evans says is to “underline our great heritage as a newspaper”.

Admirable of course, although I rather suspect that very few readers will have noticed when it was ‘de-gothicised’ a few years ago.

What is an unqualified success is the unusual appearance of a Matt cartoon on the Monday front page. Matt Pritchett has been the best pocket cartoonist of any UK newspaper for decades, and he has marked this latest development of the Telegraph in typically brilliant style.

Terry Watson is a founding director of Edinburgh-based media consultancy Palmer Watson

SoundCloud CEO welcomes the arrival of Apple Music claiming it will only benefit him
Posted on Monday June 29, 2015

SoundCloud chief executive Alexander Ljung has welcomed the arrival of Apple Music saying that its launch will only benefit his music streaming service.

Speaking to Music Business Worldwide, Ljung maintained that he was not concerned about Apple Music having an adverse effect on SoundCloud because he doesn’t “see anything out there that’s remotely close to SoundCloud”.

The free online music platform has almost 200m unique monthly listeners, dwarfing even Spotify’s impressive growth in recent years, and Ljung believes that the success is down to the fact that it’s free.

But this model has cause ripples of discontent amongst rights-holders, something which Apple’s $9.99 a month service has avoided.

SoundCloud has attempted to combat this tension by convincing the likes of Warner Music Group to licence themselves on the platform on the understanding that a subscription-based tier of the service would launch this year. Other tactics used in attempting to convince the likes of Sony and Universal to licence their music on the platform include a deal to pass on a share of advertising revenue.

The failure in capturing Sony and Universal has proven troublesome for the company which posted a $29m loss on $14m revenues in 2013.

According to Ljung, Apple’s willingness to invest will only help the market because “all of the marketing dollars they’re going to spend is going to massively raise awareness of streaming”.

He believes that SoundCloud’s 200m listeners mean that the scale of the company means it will “benefit tremendously from increased awareness around streaming of music".

While recognising the similarities between his business and Apple Music, Ljung maintained that it has “something completely different” and “unless someone shows up with the same kind of numbers we have, the same passion from the creative community, the same DNA, we’re in a pretty good spot".


'Purpose' behind P&G’s Cannes clean-up says Brand Union boss on final #BrandsinCannes result
Posted on Monday June 29, 2015

P&G was the most awarded brand at the Cannes Lions festival, an accolade Brand Union's global CEO Toby Southgate said is all down to brand purpose being at the heart of all its advertising. 

The FMCG-giant walked away with four Grand Prix awards alongside 10 gold, eight silver, and 19 bronze awards. The awards were pulled together by Brand Union's #BrandsinCannes tracker which was launched this year to applaud the often forgotten clients at the week-long industry back-patting event.

“Procter & Gamble topping the table may not be a surprise: it buys more advertising than anyone else in the world (though it only scraped last year’s top 10 #BrandsinCannes). But this was no carpet-bombing exercise and it tops this year’s list as a result of two (different) Grand Prix winning campaigns for femcare brands,” said Toby Southgate, worldwide CEO, Brand Union

Leo Burnett’s ‘Like a Girl’ work for Always topped the PR Lions category while Whisper's ‘Touch the Pickle from BBDO India won the Glass Lion Grand Prix award. BBDO India also won a Glass Lion its ‘Share the Load’ work for Ariel (another P&G brand).

“Brand purpose is not new of course – it’s a key component of contemporary brand strategy, most eloquently validated in Milward Brown Vermeer’s Marketing 2020 work. But this year’s results show that as well as being a pillar for driving commercial value and brand equity, it clearly enables and inspires the world’s best creative work too” Southgate added.

He went on to say what struck him most about all about the final results was the “huge” impact of the new Glass category – the Lion established to recognise issues of gender inequality and prejudice.

“In other words, brands and communications focusing on addressing, elevating and celebrating organisations that strive to address perhaps the highest order purpose or cause of them all,” he said

“I predicted early in the week that entries in the Glass category next year will accelerate. After this showing and their significant impact on the overall event, it should become a pillar for Cannes for years to come. The wonderful Cindy Gallop asked whether Glass could become the ‘Lion for Change’. We certainly hope so.”

Meanwhile, other brands to end Cannes on a high included Samsung, which walked away with one Grand Prix, five gold, seven silver, and 10 bronze awards.

Volvo came third with four Grand Prix wins, two gold, six silver and three bronze awards.

Last week, Southgate told The Drum that the #BrandsinCannes tracker was launched to remind people that “award winning work doesn’t just emerge from the ether. It is sponsored by clients who embrace creativity.”

“Behind each award-winner there’s a strategy, and an equally brave client that ultimately signs off the idea. We believe the brands deserve more recognition for the risks they take, and the creativity they enable,” he said.

Brand Union is now plotting how it will use the tracker across other events beyond Cannes Lions.