Posts Tagged ‘PR’

Marmite brands #1: Lady Gaga

October 19th, 2009 by Phil

Love her or hate her, you have to admit that Lady Gaga has done something special.

In a relatively short space of time she’s gone from a nobody to become one of the most exciting, inventive and inspiring pop stars of the Noughties.  While her peers veer wildly from one extreme (bemoaning problems like music piracy) to the other (having very public breakdowns), 2009 has seen the emergence of an artist who has rewritten the rulebook when it comes to making headlines, all in the name of art.

Her live performances never fail to be spectacular (exploding firework bra anyone?), and even the most mundane events like boarding an aeroplane gain significant column inches.  She even provides forums the blogs with plenty to feast on.

But ‘poon or peener’ aside, for me the success of Lady Gaga is primarily down to one thing; some damn good PR.  The team around her has managed to create a water-tight persona (or should we say brand) with which to stir up controversy and interest, the likes of which hasn’t been seen in a long time.  In a music market dominated by X Factor-style competitions, where new acts are created in front of the camera, warts and all, it’s refreshing to see a marketing approach that’s based on the creation of an enigmatic ‘superstar’, where not a shaft of light from backstage is ever glimpsed. 

We’re never privy to the ‘real’ Lady Gaga, the person behind the make-up.  There are no stories, or photos, of her falling out of a nightclub drunk, upset at being jilted by an ex-lover, overjoyed that she’s reached number one in the charts.  There constantly remains an air of mystique, carefully controlled and refined, where art and performance become the overarching messages, and the usual ‘girl next door does good’ angle fails to materialise.

As PR machines go, Lady Gaga and her record company are on to a winner.  She might have a lifelong career or be the proverbial one-hit wonder, but someone who’s taken less than a year to build up the admiration and reputation as someone as established as Queen of Innovation Madonna deserves to be watched with close attention. 

Then again, perhaps it really is all about the art.

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Brand new Eulogy!

October 14th, 2009 by Anthony

If you’ve come straight to this post from our E! Bulletin newsletter, then a warm welcome to you. You must be a client of ours. Hi, I’m Helen, Eulogy!’s marketing manager.

So, what do you think?

I thought I’d put up a quick post explaining why we’ve changed our website and improved the way we communicate with you.

As a client, you’ll doubtless have been to Eulogy! on numerous occasions, walked through our 4th floor door, trod over the wooden floorboards,  down between the meeting rooms and then, whoosh! It hits you! The warmth, passion, laughter and intelligence that encapsulates Eulogy!’s essence and success.

And, let’s be frank. Our old website in no way expressed all that. We want to show people who we really are, what we do and how we do it. So, voila! A new website s born. Please take a look around and tell me what you think.
Particular highlights are the two minute creds , and for those of you in media & marketing services, check out the section dedicated just to you.

As for how we communicate with you, I’m sure you know by now that we’ve always got something to say. We’re continually changing and improving what we do, and we’ve been winning awards, and taking on new staff – we want to share this with you. It affects you directly, after all. So a newsletter updating you on all this will wend its way into your inbox on a regular basis. You can unsubscribe at any time, but I promise we’ll only send you the most pertinent and important information – no spam!

As always, contact me at any time. I look forward to hearing from you.

Helen

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All’s free in love and news

October 12th, 2009 by Claire Burgess

Another week, and another title joins the freesheet melee. But on closer inspection, it’s not another new title: it’s the London Evening Standard. It may be losing its 50p cover price but in the process new owner Alexander Lebedev will be more than doubling its circulation with 600,000 copies hitting the streets from this Monday.

A few short years ago it would have been hard to imagine the Evening Standard being handed out free. But the age of the freesheets has radically changed the publishing playing field. Mainstream titles are waging their own price wars in print and online, and looking for ever more radical ways to attract the fickle newspaper buyer – from wallcharts and CDs to winning Stonehenge (well a sunrise there, at least!). But for the freesheets it is a battle of volume; a battle that claimed thelondonpaper as its most recent casualty.

If freesheets are to generate the ad sales required to allow them to continue printing, then consistently appealing to a broad audience is essential. It will be interesting to see how the Evening Standard, which has always cultivated a relatively young, upmarket readership, balances the needs of the commercial department with the editorial integrity on which it has built its reputation.

Mike Ironside, chief executive of the National Readership Survey was at Eulogy! last week and asked us whether we felt our newspapers had a unique voice. Without a doubt, the room replied. It is clear that newspapers are still a national passion. Over the course of a week, three quarters of the UK population reads a newspaper, and half of us are still buying a Sunday paper.

If the Evening Standard can make the free model work, then it is going to put serious pressure on rival titles that are still hanging on to their cover price. But how long can the free model prosper? In this case, the power really is in readers’ hands. If we’re not willing to pick the freesheets up, then the advertisers will follow suit.

Like many others, I have found the evening journey rather empty since thelondonpaper departed and the Evening Standard, which has a distinctly different voice to London Lite and other freesheets, is undoubtedly a welcome addition for commuters and advertisers alike.

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Mine’s a generic unlabelled beer bottle please

September 21st, 2009 by Claire Burgess

As you settle in front of the TV have you ever paused to lament the fact that no one ever walks into The Vic and asks for a pint of Carling? Why’s it always the ‘usual’? And why do the cast of Hollyoaks never pop down to Topshop?

How much does this impact the realism of the storyline? Well apparently enough for the Government to decide that it’s time to abolish laws preventing product placement on UK television screens. Although the BBC remains exempt, as do children’s programmes, this is one of the biggest changes in our recent television history.

But does it work? The Government’s own research has found that less than a quarter of people have felt influenced to buy something after seeing it on a TV show. So why are advertisers so keen to get their products in our programmes?

When the cast of The Hills cruise in their Lexus and Porsches, the judges of American Idol carefully display Coca-Cola or Carrie splurges on yet more Choos –  millions are watching. And it’s not just about getting in front of people. The subtle, or not so, power of association can be worth more than any cheque, and brands are clamouring to align themselves with the aspirational characters we love to watch. 

As broadcasters wrestle with the ever-tightening grip of declining ad budgets product placement represents a fruitful source of revenue. Ad funded programming has sailed silently into our TV schedules and we’ve hardly even noticed. Plus more budget means more new commissions, so surely we’re onto a good thing?

A word of caution. Done wrong, product placement ruins the programming it’s supposed to enhance and alienates viewers. The rules are clear. For consumers it has to be relevant and fit the context of the programme. For brands it must align with their broader strategy and create a meaningful engagement with the audience.

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The portrayal of PR

July 29th, 2009 by Katrina

As Eulogy!’s resident film geek, it never fails to amaze me how badly films seem to understand PR. Take Hancock, for example, where the ‘PR’ man actually worked in branding. Or de Niro’s role in Wag the Dog, where his character veers wildly from spin doctor to – bizarrely – warmonger to film director – but never actually what I would term PR.

This misunderstanding of the scope of PR runs across TV as well – just think how many people in the world think PR is what Edwina does in Ab Fab, or the spin doctoring in the BBC’s Absolute Power. While it might be part of the job (sometimes) to drink champagne, hold random brainstorms in circular rooms or spend time at long client lunches, nothing as yet has truly encapsulated the work that goes in behind the scenes to these perks or the real scope of the role.

Perhaps it’s because PR is so multidimensional; even in our office the work I do from day to day can vary wildly from what my colleagues are up to. Maybe it’s down to the shifting nature of media relations/ corporate communications/ event management/ client management and the hundred other roles that PR can, and does, accomplish. I just know I still have trouble explaining what my job really entails to my parents when something we have done appears in the paper.  Should PR do a better job on its own coverage?

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