Royal Bank of Scotland CMO David Wheldon: More marketing will go in-house

Royal Bank of Scotland will soon run more of its programmatic advertising internally, according to David Wheldon, the bank’s chief marketing officer.

The financial firm is building what Wheldon calls an “in-house studio” that will run parts of its media and advertising alongside its external agencies. Rather than eliminate agencies outright, he wants greater control over parts of the marketing mix that directly affect the business, such as ad tech and data management. Wheldon wants to drive the decisions, rather than agencies, on what supply-side vendors the bank uses and what aggregators it buys data from. Tighter agency contracts alone won’t guarantee that level of control, said Wheldon.

“You can’t carp on about transparency [as a marketer] unless you do something about it,” he said.

Wheldon shares how he sees the relationship between RBS and its agencies evolving. Excerpts from his conversation with Digiday appear below, edited and condensed.

Why do you need an agency as you take more control of your media investments?
At the moment, we still need an agency. But I can see a not-too-distant future where we could be doing a lot more programmatic ourselves. We’re building an in-house studio, and the vision for that is to be plug-and-play ready [to make media decisions]. For example, when an interest rate changes, we’re obliged to communicate that to all of our customers, and at the moment, we have to buy media to make it happen. One day, it will [be automated] and have the capability of using our own first-party data.

Why are you trying to in-house and automate as much marketing as you can?
Our future is definitely going to be one of doing much more customer communication directly. We’ll be able to target our own customers more thoughtfully using our data than we can by outsourcing those tasks. We’ll then be left scratching our heads about where we need to spend the money externally. Up until the last few years, we were outsourcing all of that media planning and buying to a media agency. I can see that happening in my role as the president of the World Federation of Advertisers, too. This increasing shift to programmatic is becoming more about the in-house capabilities on the brand side. And as that movement happens, the more tough questions there will be around digital and the more people are going to have to think long and hard about how they run online advertising, especially given the obligations of the General Data Protection Regulation.

How happy are you with the transparency you have into your media agency?
I’ve made it clear to our media agency that I expect them to tell me how and where they make money. I’ve reminded them that if they don’t do that, then RBS has a contract with them that means they can be fired instantaneously. It’s a brutal way of putting it, but it’s going to force transparency because I’ve learned to get very suspicious about where the [bank’s] money is going. It’s not so much about the contract. It’s about asking the right questions. The example I always refer to is [asking about] the percentage my media agency charges when they recommend a media partnership.

Could RBS as an advertiser do more to take responsibility of its investments?
We’re getting better at understanding the people we’re after, as that’s the primary way to reduce wastage. I inherited what some would describe as some very lazy briefing, which would basically say, “We’re a bank with 16 million customers; therefore, our target audience is everyone, so go forth and buy ads.” Are we as efficient as I’d like us to be yet? I don’t think so.

What are you doing to change that?
We’re writing better briefs that are based on our data, which isn’t just our customer data, but our historical data in terms of what has and what hasn’t worked. There’s also the fact that when people come and recommend something to us, we’re asking for data to justify those recommendations. We want to know how those suggestions are going to be measured as well as how will we know whether the idea worked or not. We’re trying to do all that in a way that’s more about test and learn. We were taking recommendations straight from Facebook, for instance, where its representatives would say, “We think you need to do this,” and my team would come back do it. I’d ask why we’d launched whatever was suggested across our entire customer base, when we could’ve done something smaller to test the idea and then learn about it.

With the changing advertiser-agency relationship, what’s the opportunity for consulting firms?
I’m not sure there was ever a bygone era when agencies enjoyed a great relationship with the top of the house, but what the consultants have now is the C-suite relationships, a deep understanding of technology and a deep understanding of the digitization of our services. It’s not too much of a leap for them to think they can help with the advertising part of that mix.

Would you hire a consulting firm to replace an agency as you in-house more media management and advertising?
You always need external people because they bring a freshness and a lack of fear.

The post Royal Bank of Scotland CMO David Wheldon: More marketing will go in-house appeared first on Digiday.

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Bustle plans UK expansion with 10 staffers

Women-focused publisher Bustle is expanding to the U.K., launching a local site and social channels in May. According to the publisher, it will have 10 employees in the U.K. within the next three months, split evenly between editorial and commercial. Former Mashable sales exec Jack Gillespie and former Vanity Fair strategy editor Charlotte Owen will lead the publisher’s U.K. operations.

The 5-year-old site already has a U.K. following: In January, Bustle had nearly 3 million unique visitors in the U.K., putting it slightly ahead of PopSugar (2.9 million) and Refinery29 (2.7 million), according to comScore.

“Empowering women is a universal thing. Now, there’s an opportunity to reach the U.K. market directly,” said Kate Ward, Bustle Digital Group’s editor-in-chief. “We’re proud to never have pivoted; we’ve had the same message of inclusivity and diversity since day one. Women’s empowerment will always be a trend.”

Bustle’s U.K. site plans to publish roughly two dozen text articles a week, figuring out what content resonates with U.K. audiences before developing more specific coverage and formats. Ward points to recent successful articles like this piece about actor and writer Heather Graham’s directorial debut, and this profile on “Black Panther” actor Danai Gurir.

Jason Wagenheim, Bustle’s chief revenue officer, said 95 percent of the company’s revenue comes from direct display and branded-content ad campaigns, while roughly 5 percent comes from programmatic and affiliate revenue. Last year, he said, Bustle grew revenue by 50 percent. Branded content will drive its growth in the U.K. market: Wagenheim said 80 percent of each deal has a branded-content component, with Instagram proving particularly popular with advertisers recently. The publisher was unwilling to share when it expects the U.K. site to turn a profit.

“Insights always lead our strategy in our approach to branded content,” said Wagenheim. The Bustle Trends Group, the publisher’s research arm, informs ad campaign strategy and post-campaign analysis. It’s conducting research on the U.K. market to take to advertisers and plans to have several brands on board when the site launches.

The digital media casualties of the last six months have spurred U.S. media companies to rethink international expansion. And it won’t be easy for Bustle. Its brand recognition among U.K. agencies needs to improve quickly in order to gain traction with advertisers. Campaign budgets in the U.K. are lower than in the U.S., and competing with entrenched titles will be tough.

“There is a lot of competition in this area. I don’t yet know what Bustle’s point of view would be or what makes their audience unique,” said David Carr, strategy director at DigitasLBi, pointing to Bustle’s homepage, which features a variety of listicle posts like “9 Revelations From ‘Bachelor Nation’ By Amy Kaufman That Will Surprise Even The Most Diehard Fans” and “14 Scary Movies Like ‘Veronica’ That Are Too Terrifying To Finish, From ‘Creep’ To ‘The Babadook.’”

The publisher, however, is confident about its international expansion. “We’re in the U.K. for the long haul,” said Wagenheim.

Image: Bustle via Facebook

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‘You have to go beyond the algorithm’: NBCU’s Linda Yaccarino takes platforms to task

Linda Yaccarino, chairman of advertising and client partnerships for NBCUniversal, says media must get moving on solving problems. Our conversation is lightly edited and condensed.

Last year, you talked a lot about the need to address brand safety, media measurement and transparency issues. Are your priorities the same for 2018?
I certainly think some of those or all of those issues are the same. But broadly what I’m vocal about is the illogical inertia that is plaguing the advertising industry. There’s safety and transparency issues facing one side of the business. There are measurement issues on the other side. All of those need to be addressed. The industry hasn’t been doing enough. We’re just not willing to wait for other companies that the industry has traditionally relied on to measure viewing reliably or that we offer brand-safe environments.

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For banks, marketing Zelle is proving to be a challenge

How banks promote Zelle is about more than television ad campaigns.

This year Chase and Wells Fargo have launched 15- and 30-second commercials advertising Zelle, the peer-to-peer payments offering built right into banks’ mobile apps. Zelle itself has even launched a couple of spots, one featuring Hamilton star Daveed Diggs.

Smaller banks that can’t afford national commercials, however, will need to promote Zelle in their existing products, their mobile banking apps, and perhaps take a page from fintech startups’ marketing playbook and design their apps in such a way that the product does the selling for them. That’s according to a new report by Javelin Strategy on Zelle’s rollout; that it emphasizes within its own mobile banking experience that a product called Zelle exists and communicates the benefits of using it and the reasons its better than competitors like Venmo or Square Cash.

“Banks are doing a lot of things right but this is not an easy thing to introduce,” said Mark Schwanhausser, director of the digital banking practice at Javelin and the author of the report. “It’s not a simple feature you can roll out and say ‘try it.’ Explaining all these things means you have to prioritize because there just isn’t enough time so you have to be very selective… I don’t envy bank marketers who have to try to figure out how to in 15 seconds give an elevator pitch.”

Read the full story on tearsheet.co

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Media companies are speaking up against the dominance of Facebook and Google

This article is a free preview of the new issue of Digiday magazine, our quarterly print publication that’s distributed to Digiday+ members. To find out more about Digiday+ — and ideally subscribe — please visit the Digiday+ section.

It was April 2016, and BuzzFeed had just exploded a watermelon on Facebook Live, making it Facebook’s most-watched live video to date. BuzzFeed was flush with $3.1 million in Facebook money, making it the media company the platform paid the most to make live video content, ahead of even The New York Times and CNN. Just a few days later, onstage at Facebook’s F8 developer conference, BuzzFeed founder Jonah Peretti expounded on all the live video the viral content company could make for Facebook, including even a game show. Facebook and BuzzFeed seemed to be arm in arm, marching into the brave new world of live video.

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Sherwin-Williams Names Mono as Creative Agency of Record for 3 of Its Brands

Sherwin-Williams Consumer Brands Group has selected Minneapolis-based independent agency mono as creative agency of record for its Valspar, Krylon and HGTV Home brands following a review. Mono will be tasked with creating integrated campaigns for the three brands and has already starting working on them. “We are thrilled to partner with an agency that is…

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One agency’s staffers use a screen-carrying robot to be in two places at once

Last summer, Heather Salkin, svp of innovation for North America at experiential agency Momentum Worldwide, had to be in two places at once: American Express’ virtual reality demo at the U.S. Open in New York and with her family at a New Jersey beach. Normally, Salkin would have had to forgo her vacation to attend the tennis tournament. Instead, she used one of Momentum’s traveling robots to appear at her client’s event while she relaxed 160 miles away.

Salkin arrived at the U.S. Open with her colleagues, her face appearing on the screen of an iPad supported by a foot-long stick (the body) attached to a base with wheels.

Image courtesy of Momentum

The robot is one of three that Momentum is using to help address one of the many concerns agencies face today: maintaining a healthy work-life balance for employees in an industry as competitive and hectic as advertising.

“Had the robot not been on-site, [Salkin] would have missed this much-needed time to reboot with her family before gearing back up for the next few weeks of high-energy technical event oversight at the Open,” said Jennifer Frieman, chief talent officer of Momentum Worldwide.

Momentum introduced what it simply calls “The Robot” to its New York office around two years ago and is now rolling out two others to its St. Louis and Chicago offices and its 1,300-plus employees. While the robots, which can be powered by app or web browser, are mostly used in the agency’s offices, Momentum has shipped them to conferences, marketing events and even client offices when travel is not possible because of scheduling conflicts.

“When employees cannot be at a meeting or event in person, these robots give them a physical presence to bridge that gap,” said Frieman.

Momentum bought the robots from Double Robotics, which typically sells them for $3,000 each, excluding warranty fees. Momentum would not disclose how much it paid for the robots.

The rollout of the robots is one part of Momentum’s new flexible work initiatives that launch on March 8, in honor of International Women’s Day. The other initiatives include a way for employees to ask their managers for reduced work hours or more days when they can work from home, and Momentum-sponsored fitness and productivity classes.

More than ever, agencies are under intense scrutiny to provide more flexibility in their working policies. Ad agencies now have to compete for talent with clients hiring for their own in-house operations, consultancies like Accenture and Deloitte that are taking work away from agencies and platforms that tend to offer incentives and benefit packages that are hard to turn down.

Momentum conducted its own survey of around 500 people in June 2017, finding that 83 percent said they would leave the industry if they could not find a job with a good work-life balance.

“Our industry is losing too many talented people to unreasonable demands that put unnecessary strain on families,” said Donnalyn Smith, Momentum’s president in North America.

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America’s Oldest Beer Brand Hires a New Agency to Guide Its Expansion

America’s oldest brewery has a new creative partner. D.G. Yuengling & Son, Inc. selected Chicago-based independent agency Laughlin Constable as creative agency of record for Yuengling, following a review. Dan Fietsam, who joined Laughlin Constable as chief creative officer in June 2016, has a history working in the category, having worked on Bud Light earlier…

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How Cellphone Chips Became a National-Security Concern

Telecommunications-industry leaders don’t consider a potential Broadcom takeover of Qualcomm an immediate U.S. threat. But they believe the U.S. government has legitimate long-term fears.

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Shopper Behavior Intelligence Company Catalina Targets Emerging Brands

Shopper behavior intelligence company Catalina, which is perhaps best known as the company behind the coupons that print out at the grocery store register, is building out its emerging brands business–targeting brands with $1 billion or less in annual revenue–with the launch of Catalina Catalyst to help smaller brands better compete for consumer attention. Catalina…

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