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  • Roku’s Sarah Harms on building the future of CTV advertising
    Connected TV is no longer just a buzzword in the ad world — it’s where the industry is being reinvented. Audiences aren’t just watching differently; they’re shopping, engaging, and co-viewing in ways that open new creative doors for brands. And sitting at the intersection of entertainment and advertising is Roku, a company that’s helping marketers meet these shifts head-on.In this episode of The Big Impression, Roku’s VP of advertising, marketing & measurement, Sarah Harms, explains why the company is uniquely positioned as a publisher and an operating system. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're talking about how streaming and connected TV are transforming not just how we watch, but how brands connect with audiences.Damian Fowler (00:17):Our guest is Sarah Harms vice president of advertising, marketing and measurement at Roku. She leads the strategy behind Roku's advertising business, helping brands tap into streaming's growing audience while building smarter measurement tools along the way.Ilyse Liffreing (00:32):Before Roku, Sarah built her expertise across both the buy and sell sides of the industry with leadership roles at Microsoft XR and wpp giving her a unique perspective on how ad tech data and storytelling all come together on Connected tv.Damian Fowler (00:49):We'll talk about how Roku's helping brands of all scientists meet new viewer behaviors, build more effective campaigns, and push the creative boundaries of what's possible on CTV.Ilyse Liffreing (01:00):So let's get into it.Damian Fowler (01:03):So Sarah Roku is in a pretty unique spot right now, right? Between entertainment and ads with this latest brand or measurement move, what got it started? Was there an insight or audience need that really stood out to you?Sarah Harms (01:17):Yeah, so in my role I run ad marketing and measurement. So much of my job is us as a marketer, so marketing roku's, advertising proposition, but also in support of our marketers. And so that makes my job very fun. And so a lot of this conversation today, I'm going to go back and forth between my job as a marketer, but also my job in B2B advertising of driving marketers results on our platform. Something that's really fun about Roku is that we're a publisher, but we're also the largest operating system in the us. We see consumers come through our front door to get to the content they know and love and care about. And so that gives us a really rich canvas for supporting some of our marketers initiatives. And so for example, the Super Bowl was very fun for us, whether it was using our platform to drive traffic to Tuby or to build really fun brand experiences on our canvases.(02:13):So we had, when Sally met Hellman's and we had Hellman's and Roku City and we had the Super Bowl ad and a really lovely zone destination to drive shopping and drive purchases of Hellman's mayonnaise, which you really wouldn't expect from a television advertising experience. And so I think that was a fun one from us in supportive marketers. And then a whole part of my job is making sure our advertisers really know about the Roku experience. And so while it's B2B, it would be silly not to address them in a B2C capacity because our marketers could also be customers, the need to understand the value of the Roku experience even if they don't have a televisionDamian Fowler (02:53):From ro. Once you realize your customers could be businesses, consumers, or both, how did that shift your strategy? Did it change the way you approach things?Sarah Harms (03:01):I think it's just strategic use of our resources and a strategic use of our messaging. We certainly think the Roku experience as an operating system is delightful and easy and intuitive. We talk about how your mother-in-law can set it up herself as the example we always use. And so we certainly want our advertising customers to know that too because it really is a beautiful, elegant experience for advertising as well, for watching content.Ilyse Liffreing (03:28):So you've got such a big range of advertisers from big Fortune five hundreds to D two C brands to B2B. How do you build campaigns or measurements that flex for either of them but still stay true to your own approach?Sarah Harms (03:44):Great. So I'll address that as a speaking to the advertising community part of my job, we certainly are on a journey to evolve our strategy to be more flexible and meet our customers where they want us to be, whether it being in their buying platforms of choice or providing optionality to a D two C customer by giving them a very lightweight, intuitive self-service platform like Roku Ads Manager. And so I think a lot of it from a measurement standpoint is doing some education. I think some of the questions were ground around CTV is still somewhat new, but I don't know if it's new, but it's certainly new in the eyes of performance. And so it's a lot of education about how we can enable customers to drive true outcomes using connected television. And so whether it's ad manager or unique measurement integrations, shoppable formats, we really try to address all of thatIlyse Liffreing (04:36):Now. Streaming's completely changed how people watch from binging to co-viewing and basically everything in between. How do cultural or data trends help shape what you're doing on the platform?Sarah Harms (04:48):Yeah, I mean it's been so interesting to see it change even since the pandemic. I think for a long time CTV was synonymous with SVOD or subscription video on demand. We're very much seen that is not the case anymore. A majority of our households are using some form of A VOD, we're advertising video on demand. And so that trend coupled with live sports coming into CTV and streaming, it's really just driven a whole new slew of opportunities for advertising. And so off the back of that, that's more addressable, more accountable television because it is connected television. And so that's been fun from a education standpoint, it's been fun from a how do we enable our platform to address that and also how do we educate our customers from a measurement standpoint.Damian Fowler (05:37):So what's the ad experience like on Roku? You mentioned CTV and it sounds like there's a pretty wide mix of formats. Can you break that down a little more?Sarah Harms (05:46):I'd love to because I think that's again, where my role as a B2B marketer, it's of course helpful to inform our clients about our experiences then they might not have a Roku device or television. And so we think about our business in really two core buckets. We have the Roku experiences, which is our beautiful ui, so native home screen units, they're customized, they're elegant, and we have some of our more kind of viral experiences like Roku City, which is fun and delightful. We're now doing brand integrations there. But then on the other side, we're also a very scaled publisher. So the Roku channel continues to climb Nielsen's Gauge in terms of total TV content time. And so that is allowing us to be a very kind of open interoperable, performant publisher as well with standard video that's available programmatically. It's available with unique measurement integrations, and that's really our ecosystem being an interoperable partner in the space.Ilyse Liffreing (06:43):Roku City is that fun, animated screensaver, very purple that a lot of people see on their TVs. Can you tell us a little bit about it and the kinds of brands you're partnering with there?Sarah Harms (06:54):Yeah, so this has just been something really fun that's taken off. So Roku City is our interactive screensaver and people love it. I don't know if you see it every day, but it's cute, it's fun, it grabs your attention. We see that it's tweeted about every 12 minutes, so it is a viral experience and so much so that really our advertisers challenged us to think about it differently. And so now we have really a variety of advertisers coming into Roku City. So I gave the Hellman's example. We had Taylor Swift in Roku City. And so it's really just a fun, unique, totally differentiated advertising experience, but we tie it all to the rest of our assets.Damian Fowler (07:36):I heard somebody say this morning, performance media is kind of the baseline. Now with that in mind, how do you think about measuring engagement across all these different touch points that we've been talking about?Sarah Harms (07:46):Yeah, I mean, so much of my job on the measurement side of the house is education. And I think the challenge is that performance is in the eye of the beholder and CTV is still bought via a very different group of personas from a legacy television buyer all the way to someone that had been in social API partners and dipping their toe into CTV. And so performance is required, but it's really a matter of educating them on what that means to them and supporting them in their efforts. But what's great about CTV is its big beautiful television, but with all the addressability and accountability of digital.Damian Fowler (08:23):And on that point though, what is it that linear TV buyers still don't quite get about CTV?Sarah Harms (08:29):I think it's the ecosystem aspect of it all. I think television in the past was measured by a couple companies with a couple KPIs or just reach. And so I think this is where CTV has really unlocked really turnkey, always on easy to optimize measurement. That's very exciting.Ilyse Liffreing (08:48):So one thing we like to do on the show is pull our takeaways from the big campaigns. Are there any KPIs or success stories from the campaigns running on Roku that stand out to you?Sarah Harms (09:00):Yeah, so I think what's been fun is we see that we have opportunities for really kind of all verticals. Obviously Roku is born out of the media and entertainment industry, but we've expanded there. And so we really do have kind of a playbook for each vertical, but auto specifically comes to mind, which is a really exciting one. You don't really think of performance and auto on tv, but we've built kind of beautiful experiences like showrooms where you can configure cars, sign up for test drives. And so I think we've really changed the narrative there in terms of driving actions for that vertical all in a very big, beautiful, elegant canvas.Damian Fowler (09:37):Are there any other kind of surprises from your takeaways in terms of like, oh, that's popping. I never expected that.Sarah Harms (09:44):So for me, I don't carry a wallet. My phone is my wallet. And I think if you told me that five years ago, I would've never believed you. Similarly, I don't think anyone thought they'd be shopping with their television. That happens every day on our platform, and I think it's because of clients testing with us, but also it comes back to us as an operating system. And really our remote, it's a few buttons. It's really easy. We have a direct relationship with our customers from a billing perspective. And so the same way Apple Pay is just so easy now you can shop from your tv, which again seems insane, but maybe we'll be here in a couple years and we'll see so much direct shopping from televisions.Ilyse Liffreing (10:23):What about the interest from B2B brands? It just feels like that sector is really exploding across all categories, but CTV particularly.Sarah Harms (10:33):Yeah, I mean so much of my job as a B2B marketer is a lot of education and a lot of really, so much of our reframing away from being a walled garden to more of an open collaborative partner. And so much of it is doing, we talked in the press about our change away from doing a big new front event. We did more kind of small customized dinners instead just to make sure there is a very direct touch point, but also specifically cater to each client's needs. And so I think that's been more of our approach of making sure we do pointed conversations to address the nuances and needs of each customer.Ilyse Liffreing (11:12):And how was that new approach for you this year? I know a lot of brands are doing things a bit differently at the fronts. How did it go on your side?Sarah Harms (11:21):I think for us it's knowing the value of us as the operating system and having great content, but not being these content giants that have millions and millions and millions of dollars to spend on content. And so they should do a big show for us. We drive traffic to the big show. And so I think it was more about, yes, of course, talking about our amazing content and brand integrations there, but also acknowledging the integrations that each customer wanted, the platforms each customer wanted, and what we're doing for each of them in a really kind of catered way versus such a one to many message.Damian Fowler (11:57):You mentioned content earlier. Are you seeing any particular trends now? Anything that's really driving interest from certain categories or marketers?Sarah Harms (12:06):So we have our Roku originals, and we do very well in kind of holiday and home as you can expect, but I think this year in Cannes, you won't be in a meeting like this without talking about sports. And so we have sports rights, yes, but again, the value of the operating system, we've built sports zones to help make sport discoverable and findable. I always use the example of my husband's great Uncle Joe, diehard Yankees fan, can't find a Yankees game because it might be on four different places in five days. And so how can Roku as an operating system help in that regard? And so I think Roku is invested a ton in our infrastructure of driving curation of sports, but also we're very invested in what we call challenger sports, so National women's soccer league volleyball, stuff like that where they have really these die hard fan bases and they just want to find it. We're the destination to help them.Damian Fowler (13:01):We keep hearing it's not just about mass reach anymore, it's really about how well the audience, and the better you understand them, the better this whole thing works for both the platform and the advertiser. How do you see that playing out right now?Sarah Harms (13:13):Yeah, and they're loyal. They're diehard. They're big spenders sometimes. And so you want to kind of associate with yourself with such a kind of amazing, loyal fan base that's just so passionate about the sport.Ilyse Liffreing (13:26):So we have some quick questions for you now. So first of all, you've led both creative and analytical teams. What is one timeless truth about great advertising that cuts across both sides?Sarah Harms (13:41):First of all, it's a very fun aspect of my job having both kind of the marketing team and the measurement and analytics team. Two very different personas, but brilliant in their own ways. And so much of my focus since being here is making sure they're working together versus kind of two ships in the night with their own functions because we certainly have such amazing data, so we should use that to speak to the marketplace in a smart way. And so I think that's been really fun. I think they're getting to know the other side of the house and the creative thinkers versus the analytical thinkers like me pushing them to work together has been very fun. And I think with that in mind, a data informed approach is key. And so that's what really drew me to Roku was that opportunity of just this amazing data set that we have that we can use to optimize, but also to tell our story in a more elegant way.Damian Fowler (14:33):Now since you joined Roku, is there a favorite data point or piece of feedback that's really stuck with you?Sarah Harms (14:38):Yeah, well, I think what's interesting about my job is I should have been informing people like myself about the value of Roku. Before the process started of being recruited, I had a pretty antiquated view, the Roku advertising offering. So that's something that in getting here and in going through that process I learned so much more. I think my favorite might be that any given month, we see a user come through our front door about 25 days a month. And so that is an advertising opportunity to message our amazing footprint. But we see that on average an individual app is seven, maybe eight times a month. And so if you think about that, the reach potential, but also just the consumer habit of using our devices and seeing the messaging from our brands, I think is so compelling and something that really we're massive as it relates to our OS and footprint. And so we've designed these beautiful experiences to really account for that.Ilyse Liffreing (15:36):Now, Roku really helped pioneer the modern CTV ad experience. Is there a moment that's made you step back and think, wow, look how far the medium and your team really has come?Sarah Harms (15:49):I think the fact that the Super Bowl was really such a success story for streaming, I think we never thought the Super Bowl would be at that level, but it was streamed and it really streamable and really without a hitch, I think we've seen some live streaming events and there were some issues. I thought it was very well done. We were happy to support it. We drove some amazing traffic to Tubi. And so I just think 10 years ago, we never thought that would be the case. And so that's just been a fun thing to think about that and the Olympics and the Olympic zone that we built, just really elegant experiences and just changing television has been fun.Damian Fowler (16:32):And that's it for this edition of The Big Impression.Ilyse Liffreing (16:35):This show is produced by Molten Hart. Our theme is by Love and Caliber, and our associate producer is Sydney Cairns.Damian Fowler (16:41):And remember,Sarah Harms (16:43):A data informed approach is key. And so that's what really drew me to Roku.Damian Fowler (16:47):I'm Damian, and I'm we'll see you next time.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
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  • People Inc.’s Jonathan Roberts on the untapped power of content
    Cookies are out, context is in. People Inc.’s Jonathan Roberts joins The Big Impression to talk about how America’s biggest publisher is using AI to reinvent contextual advertising with real-time intent.From Game of Thrones maps to the open web, Roberts believes content is king in the AI economy. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler, and welcome to this edition of The Big Impression. Today we're looking at how publishers are using AI to reinvent contextual advertising and why it's becoming an important and powerful alternative to identity-based targeting. My guest is Jonathan Roberts, chief Innovation Officer at People Inc. America's largest publisher, formerly known as Meredith. He's leading the charge with decipher an AI platform that helps advertisers reach audiences based on real time intent across all of People Inc. Site and the Open Web. We're going to break down how it works, what it means for advertisers in a privacy first world and why Jonathan's side hustle. Creating maps for Game of Thrones has something for teachers about building smarter ad tech. So let's get into it. One note, this episode was recorded before the company changed its name. After the Meredith merger, you had some challenges getting the business going again. What made you realize that sort of rethinking targeting with decipher could be the way to go?Jonathan Roberts (01:17):We had a really strong belief and always have had a strong belief in the power of great content and also great content that helps people do things. Notably and Meredith are both in the olden times, you would call them service journalism. They help people do things, they inspire people. It's not news, it's not sports. If you go to Better Homes and Gardens to understand how to refresh your living room for spring, you're going to go into purchase a lot of stuff for your living room. If you're planting seeds for a great garden, you're also going to buy garden furniture. If you're going to health.com, you're there because you're managing a condition. If you're going to all recipes, you're shopping for dinner. These are all places where the publisher and the content is a critical path on the purchase to doing something like an economically valuable something. And so putting these two businesses together to build the largest publisher in the US and one of the largest in the world was a real privilege. All combinations are hard. When we acquired Meredith, it is a big, big business. We became the largest print publisher overnight.(02:23):What we see now, because we've been growing strongly for many, many quarters, and that growth is continuing, we're public. You can see our numbers, the performance is there, the premium is there, and you can always sell anything once. The trick is will people renew when they come back? And now we're in a world where our advertising revenue, which is the majority of our digital revenue, is stable and growing, deeply reliable and just really large. And we underpin that with decipher. Decipher simply is a belief that what you're reading right now tells a lot more about who you are and what you are going to do than a cookie signal, which is two days late and not relevant. What you did yesterday is less relevant to what you need to do than what you're doing right now. And so using content as a real time predictive signal is very, very performant. It's a hundred percent addressable, right? Everyone's reading content when we target to, they're on our content and we guaranteed it would outperform cookies, and we run a huge amount of ad revenue and we've never had to pay it in a guarantee.Damian Fowler (03:34):It's interesting that you're talking about contextual, but you're talking about contextual in real time, which seems to be the difference. I mean, because some people hear contextually, they go, oh, well, that's what you used to do, place an ad next to a piece of content in the garden supplement or the lifestyle supplement, but this is different.Jonathan Roberts (03:53):Yes. Yeah. I mean, ensemble say it's 2001 called and once it's at Targeting strategy back, but all things are new again, and I think they're newly fresh and newly relevant, newly accurate because it can do things now that we were never able to do before. So one of the huge strengths of Meredith as a platform is because we own People magazine, we dominate entertainment, we have better homes and gardens and spruce, we really cover home. We have all recipes. We literally have all the recipes plus cereal, seeds plus food and wine. So we cover food. We also do tech, travel, finance and health, and you could run those as a hazard brands, and they're all great in their own, but there's no network effect. What we discovered was because I know we have a pet site and we also have real simple, and we know that if you are getting a puppy or you have an aging dog, which we know from the pet site, we know you massively over index for interest in cleaning products and cleaning ideas on real simple, right?Damian Fowler (04:55):Yeah.Jonathan Roberts (04:55):This doesn't seem like a shocking conclusion to have, but the fact that we have both tells us both, which also means that if you take a health site where we're helping people with their chronic conditions, we can see all the signals of exactly what help you need with your diet. Huge overlaps. So we have all the recipe content and we know exactly how that cross correlates with chronic conditions. We also know how those health conditions correlate into skincare because we have Brody, which deals with makeup and beauty, but also all the skincare conditions and finance, right? Health is a financial situation as much as it is a health situation, particularly in the us. And so by tying these together, because most of these situations are whole lifestyle questions, we can understand that if you're thinking about planning a cruise in the Mediterranean, you're a good target for Vanguard to market mutual funds to. Whereas if we didn't have both investipedia and travel leisure, we couldn't do that. And so there's nothing on that cruise page, on the page in the words that allows you to do keyword targeting for mutual funds.(05:55):But we're using the fact that we know that cruise is a predictor of a mutual fund purchase so that we can actually market to anyone in market per cruise. We know they've got disposable income, they're likely low risk, long-term buy andhold investors with value investing needs. And we know that because we have these assets now, we have about 1500 different topics that we track across all of DDM across 1.5 million articles, tens of millions of visits a day, billions a year. If you just look at the possible correlations between any of those taxonomies that's over a million, or if we go a level deeper, over a hundred million connected data points, you can score. We've scored all of them with billions of visits, and so we have that full map of all consumers.Damian Fowler (06:42):I wanted to ask you, of course, and you always get this question I'm sure, but you have a pretty unusual background for ad tech theoretical physics as you mentioned, and researcher at CERN and Mapmaker as well for Game of Thrones, but this isn't standard publisher experience, but how did all that scientific background play into the way you approached building this innovation?Jonathan Roberts (07:03):Yeah, I think when I first joined the company, which was a long time ago now, and one of the original bits of this company was about.com, one of the internet oh 0.1 OG sites, and there was daily data on human interest going back to January 1st, 2000 across over a thousand different topics. And in that case, tens of millions of articles. And the team said, is this useful? Is there anything here that's interesting? I was like, oh my god, you don't know what you've got because if you treat as a physicist coming in, I looked at this and was like, this is a, it's like a telescope recording all of human interest. Each piece of content is like a single pixel of your telescope. And so if somebody comes and visit, you're like, oh, I'm recording the interest of this person in this topic, and you've got this incredibly fine grained understanding of the world because you've got all these people coming to us telling us what they want every day.(08:05):If I'm a classic news publisher, I look at my data and I find out what headlines I broke, I look at my data and I learn more about my own editorial strategy than I do about the world. We do not as much tell the world what to think about. The world tells us what they care about. And so that if you treat that as just a pure experimental framework where this incredible lens into an understanding of the world, lots of things are very stable. Many questions that people ask, they always ask, but you understand why do they ask them today? What's causing the to what are the correlations between what they are understanding around our finance business through the financial crash, our health business, I ran directly through COVID. So you see this kind of real time change of the world reacting to big shocks and it allows you to predict what comes next, right? Data's lovely, but unless you can do something with it, it's useless.Damian Fowler (08:59):It's interesting to hear you talk about that consistency, the sort of predictability in some ways of, I guess intense signals or should we just say human behavior, but now we've got AI further, deeper into the mix.Jonathan Roberts (09:13):So we were the first US publisher to do a deal with open ai, and that comes in three parts. They paid for training on our content. They also agreed within the contract to source and cite our content when it was used. And the third part, the particularly interesting part, is co-development of new things. So we've been involved with them as they've been building out their search product. They've been involved with us as we've been evolving decipher, one of the pieces of decipher is saying, can I understand which content is related to which other content? And in old fashioned pre AI days when it was just machine learning and natural language processing, you would just look at words and word occurrence and important words, and you'd correlate them that way. With ai, you go from the word to the concept to the reasoning behind it to a latent understanding of these kind of deeper, deeper connections.(10:09):And so when we changed over literally like, is this content related to that content? Is this article similar in what it's treating to that article? If they didn't use the same words but they were talking about the same topic, the previous system would've missed it. This system gets deeper. It's like, oh, this is the same concept. This is the same user need. These are the same intentions. And so when we overhauled this kind of multimillion point to point connection calculation, we drastically changed about 30% of those connections and significantly improved them, gives a much reacher, much deeper understanding of our content. What we've also done is said, and this is a year thing that we launched it at the beginning of the year, we have decipher, which runs on site. We launched Decipher Plus Inventively named right? I like it. We debated Max or Max Plus, but we went with Plus.(10:59):And what this says is we understand the user intent on our sites. We know when somebody's reading content, we have a very strong predictor model of what that person's going to need to do next. And we said, well, we're not the only people with intent driven content and intent driven audiences. So we know that if you're reading about newborn health topics, you are three and a half times more likely than average to be in market for a stroller. We're not the only people that write about newborn health. So we can find the individual pages on the rest of the web that do talk about newborn health, and we can unlock that very strong prediction that this purchase intent there. And so then we can have a premium service that buy those ads and delivers that value to our clients. Now we do that mapping and we've indexed hundreds of premium domains with opening eyes vector, embedding architecture to build that logic.Damian Fowler (11:56):That's fascinating. So in lots of ways, you're helping other publishers beyond your owned and operated properties.Jonathan Roberts (12:02):We believed that there was a premium in publishing that hadn't been tapped. We proved that to be true. Our numbers support it. We bet 2.7 billion on that bet, and it worked. So we really put our money where our mouth is. We know there's a premium outside of our walls that isn't being unlocked, and we have an information advantage so we can bring more premium to the publishers who have that quality content.Damian Fowler (12:24):I've got lots of questions about that, but one of them is, alright. I guess the first one is why have publishers been so slow out of the starting blocks to get this right when on the media buying side you have all of this ad tech that's going on, DSPs, et cetera.Jonathan Roberts (12:42):I think partly it's because publishers have always been a participant in the ad tech market off to one side. I put this back to the original sin of Ad Tech, which is coming in and saying, don't worry about it, publishers, we know your audience better than you ever will. That wasn't true then, and it's not true today, but Ad Tech pivoted the market to that position and that meant the publishers were dependent upon ad Tech's understanding of their audience. Now, if you've got a cookie-based understanding of an audience, how does a publisher make that cookie-based audience more valuable? Well, they don't because you're valuing the cookie, not the real time signal. And there is no such thing as cookie targeting. It's all retargeting. All the cookie signal is yesterday Signal. It's only what they did before they came to your site, dead star like or something, right? The publisher definitionally isn't influencing the value of that cookie. So an ad tech is valuing the cookie. The only thing the publisher can do to make more money is add scale, which is either generate clickbait because that's the cheapest way to get audience scale or run more ads on the page.(13:57):Cookies as a currency for advertising and targeting is the reason we currently have the internet We deserve, not the internet we want because the incentive is to cheap scale. If instead you can prove that the content is driving the value, the content is driving the decision and the content is driving the outcome, then you invest in more premium content. If you're a publisher, the second world is the one you want. But we had a 20 year distraction from understanding the value of content. And we're only now coming back to, I think one thing I'm very really happy to see is since we launched a cipher two years ago, there are now multiple publishers coming out with similarly inspired targeting architecture or ideas about how to reach quality, which is just a sign that the market has moved, right? Or the market moving and retargeting still works. Cookies are good currency, they do drive performance. If they didn't, it would never worked in the first place. But the ability to understand and classify premium content at web scale, which is what decipher Plus is a map for all intent across the entire open web is the thing that's required for quality content to be competitive with cookies as targeting mechanism and to beat it atDamian Fowler (15:15):Scale. You mentioned how this helps you reach all these third party sites beyond your properties. How do you ensure that there's still quality in the, there's quality content that match the kind of signals that makes decipher work?Jonathan Roberts (15:32):Tell me, not all content on the internet is beautiful, clean and wonderful. Not allDamian Fowler (15:36):Premium is it?Jonathan Roberts (15:36):I know there's a lot of made for arbitrage out there. Look, we, we've been a publisher for a long time. We've acquired a lot of publishers over the years, and every time we have bought a publisher, we have had to clean up the content because cheap content for scale is a siren call of publishing. Like, oh, I can get these eyeballs cheaper. Oh, wonderful. I know I just do that. And everyone gives it on some level to that, right? So we have consistently cleaned up content libraries every time we've acquired publishers. Look at the very beginning about had maybe 10 to 15 million euros. By the time we launched these artists and these individual vertical sites were down to 250,000 pages of content. It was a bigger business and it was a better business. The other side is the actual ad layout has to be good,Damian Fowler (16:29):ButJonathan Roberts (16:29):Every time we've picked up a publisher, we've removed ads from the site. Increase, yeah, experience quality,Damian Fowler (16:33):Right?Jonathan Roberts (16:36):Because we've audited multiple publishers for the cleanup, we have an incredibly detailed understanding of what quality content is. We have lots of, this is our special skill as a publisher. We can go into a publisher, identify the content and see what's good.Damian Fowler (16:54):Is that part of your pitch as it were, to people who advertisers?Jonathan Roberts (16:58):We work lots of advertisers. We're a huge part of the advertising market because we cover all the verticals. We have endemics in every space. If you're trying to do targeting based on identity, we have tens of millions of people a day. It'll work. You will find them with us, we reach the entire country every month. We are a platform scale publisher. So at no point do we saying don't do that, obviously do that, right? But what we're saying is there's a whole bunch of people who you can't identify, either they don't have cookies or IDs or because the useful data doesn't exist yet. It's not attached to those IDs. So incremental, supplementary and additional to reach the people in the moment with a hundred percent addressability, full national reach, complete privacy compliance, just the content, total brand safety. And we will put these two things side by side and we will guarantee that the decipher targeting will outperform the cookie targeting, which isn't say don't do cookie targeting, obviously do it. It works, it's successful. This is incremental and also will outperform. And then it just depends on the client, right? Some people want brand lift and brand consideration. They want big flashy things. We run People Magazine, we host the Grammy after party. We can do all the things you need from a large partner more than just media, but also we can get you right down to, for some partners with big deals, we guarantee incremental roas,Damian Fowler (18:26):ActualJonathan Roberts (18:26):In-store sales, incremental lift.Damian Fowler (18:29):So let's talk about roas. What's driving advertisers to lean in so heavily?Jonathan Roberts (18:34):Well, I think everybody's seen this over the last couple of years. In a high interest or environment, the CMOs getting asked, what's the return on my ad spend? So whereas previously you might've just been able to do a big flashy execution or activation. Now everybody wants some level of that media spend to be attributable to lift to dollars, to return to performance, because every single person who comes through our sites is going to do something after they come. We're never the last stop in that journey, and we don't sell you those garden seeds. We do not sell you the diabetes medication directly. We are going to have to hand you off to a partner who is going to be the place you take the economic action. So we are in the path to purchase for every single purchase on Earth.(19:19):And what we've proven with decipher is not only that we can be in that pathway and put the message in the path of that person who is going to make a decision, has not made one yet. But when we put the messaging in front of it of that person at the time, it changes their decisions, which is why it's not just roas, which could just be handing out coupons in the line to the pizza store. It's incremental to us, if you did not do this, you would have made less money. When you do this, you'll make more money. And having got to a point where we've now got multiple large campaigns, both for online action and brick and mortar stores that prove that when we advertise the person at this moment, they change their decision and they make their brand more money. Turns out that's not the hardest conversation to have with marketers. Truly, truly, if you catch people at the right moment, you will change their mind.Damian Fowler (20:10):They'll happily go back to their CFO and say, look at this. This is workingJonathan Roberts (20:15):No controversially at can. During the festival of advertising that we have as a publisher, we may be the most confident to say, you know what? Advertising works.Damian Fowler (20:27):You recently brought in a dedicated president to leadJonathan Roberts (20:30):Decipher,Damian Fowler (20:30):Right? So how does that help you take what started out as this in-house innovation that you've been working on and turn it into something even bigger?Jonathan Roberts (20:39):Yeah, I think my background is physics. I was a theoretical physicist for a decade. Theoretical physicists have some good and bad traits. A good trait is a belief that everything can be solved. Because my previous job was wake up in the morning and figure out how the universe began and like, well, today I'll figure it out. And nobody else has, right? There's a level of, let's call it intellectual confidence or arrogance in that approach. How hard can it be? The answer is very, but it also means you're a little bit of a diante, right? You're coming like, oh, it's ad tech. How hard can it be? And the just vary, right? So there's a benefit. I mean, I've done a lot of work in ad tech over the last couple of years. Jim Lawson, our president of Decipher, ran a publicly listed DSP, right? He was a public company, CEO, he knows this stuff inside a and back to front, Lindsay Van Kirk on the Cipher team launched the ADN Nexus, DSP, Patrick McCarthy, who runs all of our open web and a lot of our trade desk partnerships and the execution of all of the ways we connect into the entire ecosystem.(21:38):Ran product for AppNexus. Sam Selgin on the data science team wrote that Nexus bitter. I've got a good idea where we're going with this and where we should go with this and the direction we should be pointed in. But we have seasoned multi-decade experience pros doing the work because if you don't, you can have a good idea and bad execution, then you didn't do anything. Unless you can execute to the highest level, it won't actually work. And so we've had to bring in, I'm very glad we have brought in and love having them on the team. These people who can really take the beginnings of what we have and really take this to the scale that needs to be. Decipher. Plus is a framework for understanding user intent at Webscale and getting performance for our clients and unlocking a premium at Webscale. That is a huge project to go after and pull off. We have so many case studies proving that it will work, but we have a long way to go between where we are and where this thing naturally gets to. And that takes a lot of people with a lot of professional skills to go to.Damian Fowler (22:43):What's one thing right now that you're obsessed with figuring outJonathan Roberts (22:46):To take a complete left turn, but it is the topic up and down the Cosette this summer. There isn't currently any viable model for information economy in an AI future. There's lots of ideas of what it would be, but there isn't a subtle marketplace for this. We've got a very big two-sided marketplace for information. It's called Google and search. That's obviously changing. We haven't got to a point to understand what that future is. But if AI is powered by chips, power and content, if you're a chip investor, you're in a good place. If you're investing energy, you're in a good place of the three picks and shovels investments, content is probably the most undervalued at the moment. Lots of people are starting to realize that and building under the hood what that could look like. How that evolves in the next year is going to really determine what kind of information gets created because markets align to their incentives. If you build the marketplace well, you're going to end up with great content, great journalism, great creativity. If you build it wrong, you're going to have a bunch of cheap slop getting flooded the marketplace. And we are not going to fund great journalism. So that's at a moment in time where that future is getting determined and we have a very strong set of opinions on the publishing side, what that should look like. And I am very keen to make sure it gets done. You soundDamian Fowler (24:17):Optimistic.Jonathan Roberts (24:19):A year ago, the VCs and the technologists believed if you just slammed enough information into an AI system, you'd never need content ever again. And that the brain itself was the moat. Then deep seek proved that the brain wasn't a moat. That reasoning is a commodity because we found out that China could do it cheaper and faster, and we were shocked, shocked that China could do it cheaper and faster. And then the open source community rebuilt deep to in 48 hours, which was the real killer. So if reasoning is a commodity, which it is now, then content is king, right? Because reasoning on its own is free, but if you're grounding it in quality content, your answer's better. But the market dynamics have not caught up to that reality. But that is the reality. So I am optimistic that content goes back to our premium position in this. Now we just have to do all the boring stuff of figuring out what a viable marketplace looks like, how people get paid, all of this, all the hard work, but there's now a future model to align to.Damian Fowler (25:23):I love that. Alright, I've got to ask you this question. It's the last one, but I was going to ask it. You spent time building maps, visualizing data, and I've looked at your site, it's brilliant. Is there anything from that side of your creativity that helped you think differently about building say something like decipher?Jonathan Roberts (25:42):Yeah. So I think it won't surprise anyone to find out that I'm a massive nerd, right? I used to play d and d, I still do. We have my old high school group still convenes on Sunday afternoons, and we play d and d over Discord. Fantasy maps have been an obsession of mine for a long time. I did the fantasy maps of Game of Thrones. I'm George r Martin's cartographer. I published the book Lands of Ice and Fire with him. Maps are infographics. A map is a way of taking a complex system that you cannot visualize and bringing it to a world in which you can reason about it. I spent a lot of my life taking complex systems that nobody can visualize and building models and frameworks that help people reason about 'em and make decisions in a shared way. At this moment, as you're walking up and down the cosette, there is no map for the future. Nobody has a map, nobody has a plan. Not Google, not Microsoft, not Amazon, not our friends at OpenAI. Nobody knows what's coming. And so even just getting, but lots of people have ideas and opinions and thoughts and directions. So taking all that input and rationalize again to like, okay, if we lay it out like this, what breaks? Being able to logically reason about those virtual scenario. It is exactly the same process, that mental model as Matt.Damian Fowler (27:12):And that's it for this edition of The Big Impression. This show is produced by Molten Hart. Our theme is by loving caliber, and our associate producer is Sydney Cairns. And remember,Jonathan Roberts (27:22):We do not as much tell the world what to think about. The world tells us what they care about. Data's lovely, but unless you do something with it, it's useless.Damian Fowler (27:31):I'm Damian, and we'll see you next time. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
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  • Spotify’s Brian Berner on the ‘untapped’ potential of audio
    Spotify’s Brian Berner joins The Big Impression to talk about how brands are looking for speed, flexibility and smarter ways to connect with audiences.    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
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  • State Farm’s Patty Morris on pulling off an NFL crossover in less than two days
    Taylor Swift and Travis Kelce’s relationship was still only a fresh rumor in 2023, when State Farm brought together Travis’ mother, Donna Kelce, and Jake from State Farm at an NFL game.On a new episode of The Big Impression, State Farm’s Patty Morris dives into how the company quickly capitalized on the opportunity despite being risk-averse.  Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing,Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're diving into one of the most buzzworthy brand moments in recent memory when Jake from State Farm crashed the Taylor Swift NFL multiverse in a way only he could.Damian Fowler (00:20):Our guest is Patty Morris, head of brand at State Farm. Patty and her team turned a viral cultural moment into a strategic marketing win from the sidelines of an NFL game to the front lines of CTV social and beyond.Ilyse Liffreing (00:34):We're talking about that famous seat swap with Mama Kelsey, and then digging into why Jake keeps showing up in all the right places and how State Farm is rewriting the playbook on building a culturally fluent brand.Damian Fowler (00:47):So let's get into it. We're going to go back to the fall of 2023 when Taylor Swift shows up at a chiefs game and sits next to Mama Kelsey and days later, Jake from State Farm's. In that seat, could you take us behind the scenes and how the idea came together so quickly?Patty Morris (01:07):Okay. Well first let me just back us up a little bit. Okay. State Farm is 103 year old, brand 103, so we have certain ways of doing things,Ilyse Liffreing (01:19):A lot of legacy there right?Patty Morris (01:19):Yes. A lot of legacy we, I think, have been successful as marketers and done a lot of great things over the decades, but we have a way of doing things and you can imagine we're an insurance company, we're risk averse, all of those things. I would just say knowing that context, how do you get from that to an agency calling you on a Friday night and saying, we have this big idea and we think you need to execute it, and it's in about 40 hours. And also it's on probably one of the biggest stages there is, and you say yes to that of course, but how do you get from A to BI think is your question. How did you make that happen? And I would just say a couple of things. One, you have to set the right conditions so that you are part of the cultural Lex Conna in a way that those opportunities come to you. And I think we had done that over time with Jake from State Farm, being really methodical about that and getting him out there in a way that people want to see him and in a way that is a best representation of our brand and allows us to be in cultural places that we otherwise couldn't without that physical brand asset.Damian Fowler (02:30):I mean, everyone obviously wanted to be part of that moment, and it's interesting that you bring up the fact that State Farm is risk averse, and yet you made it in it into that moment. Why was your connection to the Kelsey family and Jake's cultural capital so critical to making it land?Patty Morris (02:47):Yeah, I mean, I think the other context in the background around a moment like that is we've spent a long time over a decade really working to be endemic in the football landscape. Whether it was our longstanding campaign with Aaron Rogers and now Patrick Mahomes, we had brought Travis Kelsey into our football creative for the season and he was part of that work. If you remember, the Mahomes and Otto commercial was the best bundle in the league.Damian Fowler (03:15):Oh yeah, yeah, I do remember.Patty Morris (03:16):So we had all of those things working together, plus all the work we had done to make Jake from State Farm who he is, and you get this lightning moment where you have the right to be there because you have Jake and people love him, and he's a physical manifestation of an intangible product that you can put in these environments. We've built a brand that's endemic in football and is recognized in that space and just I think hats off to the creative mindset at maximum effort for calling us and saying, we think this could be a really great joyful cultural moment. And not many people could go sit in that seat next to Mama Kelsey the week after, but we think fans will love this and risk averse or not. When you hear an idea like that and you are able to put your brand in a position like that, you say yes. And if there's anybody that understands maximizing a cultural moment and doing it in the right way, I think it's maximum effort. So you trust them in that moment to do that with you. And man, we did it very quickly.Ilyse Liffreing (04:23):Very cool. Yeah, no, I know. I was just going to say it was very fast. The timing was impeccable.Patty Morris (04:30):Yeah, I think a week later it wouldn't haveIlyse Liffreing (04:32):Landed. No,Patty Morris (04:33):I agree. It had to be that weekend and just the next cultural beat right after that, and I think it really surprised people and added value to what they were seeing and during the game and just a really joyful way.Ilyse Liffreing (04:46):How quickly did it come together after the idea came into,Patty Morris (04:50):They called us on a Friday night and after a long week, a busy week said, Hey, we have this idea, but we have to make it happen on Sunday, or we don't think it'll work. And we said, we agree, but oh my gosh, how are we going to make this happen by Sunday? And so of course their next call is Jake from State Farm, are you busy? Can you be there? Can you get to New York overnight? Basically. And the actor that plays Jake, Kevin Miles is such a great partner,(05:21):He gets that call and says, what's the idea? And we tell him and he is like, well, we have to do it, we have to do that. We think so too. And he's like, then yes, I'll get there. I'll be there. So Friday night to, I can't remember what time the game was on Sunday, but wow, it was very fast and we're not used to moving that fast. That was an effort for us, but a really important moment. And I think in tipping point where we started to build some muscle around being able to capitalize on those kind of moments.Ilyse Liffreing (05:50):How long would you say campaigns usually take to come together toPatty Morris (05:54):PrepareIlyse Liffreing (05:54):A little bit?Patty Morris (05:55):It depends, right? It depends. Sometimes you plan something out and you're building something big. You do that really methodically and strategically, and it takes a while. Sometimes you're doing something that is a smaller scale and you can do that faster. But these types of things are really, we call 'em lightning in a bottle moment when it has to be, the specific parameters have to be exactly right. The stars have to align, and you have to be able to do that quickly. And so we try to work with our teams to be doing the long-term things, but also have the capacity to be able to turn and burn on a great idea when we see it. And I think that's why we've been able to hop into these cultural moments and punch above our weight as a brand because they're not paid moments, they're cultural moments that get a lot of earned attention, and that can be really powerful. Very cool.Damian Fowler (06:44):So beyond that moment, then you've got that, you capture that lining moment, then what do you do and how do you make it, you channel the cultural impact of that moment across the different channels going forward to maximize it?Patty Morris (07:00):First thing you do is celebrate, right? You took a risk and it landed and it paid off. And it's important to celebrate that because it can be really scary, right? I'm sure we've got this really precious, iconic brand in our hands. We've got this really precious asset in Jake from State Farm that we've worked so hard to build. And you take a risk like that. I think it's just important to celebrate when you make the right decisions and you're able to do it quickly. But we talk a lot about an equation that we have at State Farm, and it's a shift that we've made. We of course care about how many impressions we get. We of course care about our cost pers, right? All the things that we marketers have to care about and do care about. We try to focus on putting things through a lens, especially things like this through the lens of reach times engagement equals attention.(07:50):So when you get this sort of lightning moment, it's just a cultural moment that everybody's already paying attention to and you sort of are able to insert yourself into it. We have a lot of great partners that we work with, media partners, and we endemic in that football space. We knew everybody was going to look at that moment. We didn't really have to do a lot. We just had to put Jake from State Farm in the seat and everybody's attention turned to it, and it created its own 360 moment in its own way. And so the earned potential you get from that, the attention, that attention metric, syndicated headlines, engagement in social, everybody talking about it on replays and highlights, it's priceless. It's priceless. So I would say a lot of things, we have to work really hard to spread it across channels and make it 360. This was really just a matter of setting up the moment and then letting it do its thing.Ilyse Liffreing (08:46):How do you think about where Jake will show up next?Patty Morris (08:50):We actually try to be really disciplined about this. He is that physical manifestation of the promise that we sell in insurance and the relationship that we sell. And so I think the first criteria is, is it authentic to the brand and how we want him to show up, and is it demonstrating relationship and connection in the right way, and is it true to our values wherever he's going to show up? The reality also is he is one human being, so we have to manage his calendar appropriately. And Jake's a busy guy, very busy guy. He is an influencer in his own right. He's got 1.4 million followers on TikTok. The TikTok job alone is a lot. So we're pretty choiceful about where and when he shows up. So it's got to be the right fit. It's got to be an opportunity for us to really demonstrate that physical connection and we got to work it into the calendar. Yeah,Ilyse Liffreing (09:45):That's funny. So I would love to then now dig into some of your takeaways from that campaign. Were there any results, like reactions that you saw from the mom and Kelsey moment maybe in terms of brand lift or broader cultural impact?Patty Morris (10:01):Yeah, I mean, I think part of what has catapulted this branded asset into the cultural space in a way that just honestly, it's hard to measure. So of course we look at individual campaign metrics. Do we see brand lift in the body of commercial work that we put out? But in a case like this, it's harder to measure. So I think we mentioned the earned and the billions of impressions that created the engagement and the chatter online and all of that. But it's really all of those metrics combined with some of the intangibles. It's like when it comes to Jake from State Farm or our brand, we're constantly testing those assets for familiarity. So recognition and relevance, and we do it two or three times a year. And so we can see where he plots on that compared to our competitors and compared to our rest of our assets, we've got six, seven really important assets that are really familiar and we've worked really hard to build. Most brands are happy and lucky to have one or two. We've got seven of them.Damian Fowler (11:04):SoPatty Morris (11:05):That's a metric that we look at too, to say is what we're doing collectively and in cases like the Mama Kelsey moment, pushing those assets into higher recognition and higher relevance and uniqueness for our brand. And those are the metrics that we're looking at.Damian Fowler (11:22):I also want to ask you, what did you learn about your audience after the appearance and the way they engaged with Jake in that moment?Patty Morris (11:31):It's such a phenomenon to me that this character can be in a lot of different cultural places and be accepted. So we didn't know if you go sit him next to Mama Kelsey after a Taylor Swift moment, people are going to love it or they're going to hate it. It's not one of those things that maybe no one will notice and we'll just see. It's a big swing.(11:57):So I think we learned from fans that he is welcome in those cultural moments, and so that got us to have a little more confidence routes around some of the decisions we've made since then. So when you see him at Bravocon, you see him at TwitchCon, you see him at Coachella, and we do an exclusive drop with Travis Scott. And the reaction to him in those places, whether it's online and in social and how people comment and engage about it or in real life, is actually overwhelming. So many people will come up to us or we'll approach Jake, who are my kids love you. My kids won't stop talking about you. And even young kids, Jake from State Farm, they want their picture with him. So I think we've learned over time that he does have this universal appeal, and he's welcome. He's loved in these places, and so you're able to add value to people's experiences and to some of this context in a way that you just wouldn't expect from an insurance company.Ilyse Liffreing (12:55):So Jake obviously has become much more than a spokesperson. He's a TV personality at this point, and he's a spokes influencer as well.Damian Fowler (13:05):Spokes spoke.Ilyse Liffreing (13:07):Spoke.Damian Fowler (13:08):IIlyse Liffreing (13:08):Liked it. Okay. Say that three times. We need to redo this.Damian Fowler (13:11):No, no, it was good. I think it was good, the interaction. That was good.Ilyse Liffreing (13:14):Okay. The spoke flu? Yes. If you'll, I think you coined that perhaps. Maybe we did. Maybe we did maybe. But he has permission to show up anywhere, basically. How did you build that kind of brand equity?Patty Morris (13:30):I think it's a thousand little things over a long period of time. Original Jake from State Farm, that commercial was in 2011, right? So you've got a long history of equity in 2019. We recast that role and we're very specific about how we wanted to bring that to life. So I think it's been many things over a long period of time. But also I would say especially in some of these more recent cultural things, we test in small places. We test smaller things, we build competence, and then we try the next thing and you can see the reception to it. And I would say the other thing that stands out to people are his clothes. So red and khaki and his kind of uniform that he wears has also become pretty recognizable, and people talk about that a lot. And we take a lot of care in how he dresses and how he shows up.(14:23):So naturally we talk a little bit about apparel and fashion places and could he be accepted in that area and we can connect with a totally different audience that otherwise again, would not be connecting with insurance maybe. And so we test into small places. You wouldn't say, let's have Jake show up at the Met Gala right out of the gate you would say, where can we try a couple of places? So we work with gq, we send him to Vogue World and just see how does it go? He does a whole behind the scenes content series around it. He shows up there and fans loved it. They're so excited for him. They feel like he's their friend and they're just excited to see how he's moving through the world and everybody's cheering for him, rooting for him. I think you try in small places and you test in small places, you build confidence so that you can say yes to the big swings and you can just kind of know in your gut when that's right.Damian Fowler (15:15):Are you able to connect that recognition, that brand equity to business outcomes? I know people say, oh, there's Jake, in terms of actual business impact.Patty Morris (15:25):Yeah, of course. We're looking at brand awareness, especially with younger audiences. And like I said, Jake is universally loved. We're working hard to make sure we're relatable and relevant with younger audiences, especially in these big cultural moments. And we see our awareness scores being at the top of our category. We see our consideration scores and the trend of improvement over the last five, six years as we've really put Jake forward in this way and become really consistent about it. And there's also sort of the offline pieces of that, and you look at how people are talking about him online and the conversation and the performance on his TikTok and the brand lift that comes from that. So absolutely, we wouldn't be doing this if we didn't think it had profound business value. And I think we cracked the code a little bit on how to do it in a way that isn't a caricature or a mascot. It's this in-between version of it can really have a personal connection with consumers either digitally or commercially or in real life. And I think that's special about it.Damian Fowler (16:28):We're talking about maximizing impact, especially around new channels. Are there any that you are looking at in particular? Like CTV?Patty Morris (16:35):Yeah, in CTV streaming, just the collapsing of the funnel is how we talk about it. Where in a lot of these streaming environments, you're really able to pull people through an experience in a way that you couldn't before. So the connected piece of that, the data that surrounds that and how you actually make that work from a customer experience perspective in a way that can pull people through, not just from seeing your ad, but actually considering you and able to take an action in that moment is really exciting. So we are experimenting with a lot of different things and a lot of different partners. We did some really great work last year with Amazon and Thursday night football. So that to me is a super exciting area and one that I think marketers are going to be able to show results from in a way that we just haven't before, all across the funnel, which is super exciting.Ilyse Liffreing (17:27):It's hard for a lot of brands, especially legacy brands, to be so nimble and quick with their brand spokesperson. What would you say to marketers who are hesitant to take those kind of risks?Patty Morris (17:40):I would say know the places where you have to be vigilant about your brand and know the places where you can turn over your pen a little bit. And I think that's especially true just with the rise of creators and creators and influencers as a very important media channel. We've been talking about that a lot this week here and can around how brands work with creators and the partnership that you have to have because it can feel really uncomfortable as a brand to turn over your very precious thing to creators, but they know their audiences bestIlyse Liffreing (18:16):AndPatty Morris (18:16):They know what's going to work. And so it can feel scary, but you kind of have to turn over the reins a little bit and let them work and create with your brand in a way that's going to be relevant to consumers and their audiences. And so I think that is true in this context as well.Damian Fowler (18:32):To pull off a move like this, a brand has to move fast. And I'm curious just to hear from inside as it were, what structures or ways of working at State Farm made you capable first off of pulling something like this off, and then maybe what have you learned from it as a company?Patty Morris (18:47):Yeah, again, being 103, it's hard. We've got set ways of working and we have legal and compliance teams, and those are very real parameters that as a marketer you have to pay attention to. But culture waits for no one. Culture just keeps on moving. And if you really are going to capitalize on these moments as they happen, you have to be nimble in new ways. And I think it's just have the discussions, get on the phone, talk through it, is it the right thing at the right time? And is it worth taking some calculated risk because the benefit to the brand and the business is going to be strong enough to outweigh the risk. And there's no way you can do that or know that without just rolling up your sleeves and hashing through it with your team and making the best decisions you can for your brand.(19:31):And if you get it right, it can be a gold mine. If you get it wrong, it can really be hard. So I think that it is difficult and it's stressful, but for us, mama Kelsey moment was probably a tipping point where we said we have to recognize and be able to act quickly and nimbly when that makes sense. Not all the time that would be chaos, but when it makes sense and do it in a way that's going to be acceptable to our organization and feel good about that, but also in a way that is going to allow us not just to react to moments, but be moment makers. So I think we've moved on from that moment to do that in different spaces, and it's been great for the brand. That'sIlyse Liffreing (20:11):Wonderful. That was great. Now we have some rapid fire questions forPatty Morris (20:14):You. Okay. Okay.Ilyse Liffreing (20:17):So first one is a question that is a popular one for this podcast. What are you obsessed with figuring out right now?Patty Morris (20:26):Oh, so many obsessions. My biggest one right now is organic search and really just understanding how that's going to move and change with AI and generative AI and what that means for brands and how you need to show up. That landscape is changing and it's so critical to adapt to what really is consumer behavior, adapting to the consumer behavior in a way that is going to make sure we're showing up in the right places in the right ways. And it's probably one of the biggest places that I can see right now that is changing rapidly and significantly. So we're really working hard to make sure we're on top of that.Ilyse Liffreing (21:04):Yeah. On that note, are there other ways you are already using AI or experimenting with that?Patty Morris (21:10):Yeah, I mean, it's such an exciting time to be a marketer and also a little bit unsettling. And so I think like many others, we're experimenting in certain places. We've been using AI through certain things for a while, but there are other areas where we're really just experimenting. So probably the biggest is content scaling. How do you responsibly use AI to create content at scale and do that in the right way, in a compliant way? Because the unlock there is just exponential connection with consumers and personalized connection with consumers, and it has the potential to free up capacity of teams and agencies to do other things, more things, different things, which is really exciting, but we're also very focused on doing that responsibly.Ilyse Liffreing (21:59):Would you use it with Jake since the schedule is so packed?Patty Morris (22:04):That's a good question. No, not yet. Not yet. Jake. The beauty of Jake is he's a real person, and that's one of the core tenets of what we all love about him. I think we'll keep it that way for now. That's a good answer.Damian Fowler (22:18):Okay. So next, what's missing from the market from your point of view?Patty Morris (22:24):This week has been so interesting and inspirational. For me personally, and this might be a little bit weird, but my biggest takeaway from this week is making sure we're asking ourselves what are we trying to make people feel? I think as a marketer, you can just get really wrapped up in a lot of quantity over quality, and if there's anything we see here in can, it is definitely quality work from all over the world, and it's actually quite humbling and inspiring at the same time. My big takeaway and what I think might be missing is making sure we're trying to make people feel something about our brand. It's the most powerful thing you could do, I think, to move someone towards your products. And I think the balance of let's get everything done and let's get everything out there with are we making something of quality that's really going to create a consumer emotion and connect is something I'll be taking back to my team and something that I think is missing from the market.Ilyse Liffreing (23:27):Amazing. If Jake from State Farm could pop up anywhere next with zero constraints, where would you send him?Patty Morris (23:35):I would send him to my family reunion. So they will stop asking to meet Jake from State Farm. I get the question all the time, and yeah, everybody wants to meet Jake, which I love. Or you know what? Maybe I would send her to the future so he could tell us how all this is going toIlyse Liffreing (23:54):ShakePatty Morris (23:54):Out. That'd be pretty cool. Very cool. That'd be awesome.Damian Fowler (24:00):And that's it for this edition of The Big Impression.Ilyse Liffreing (24:03):This show is produced by Molten Hart. Our theme is by love and caliber, and our associate producer is Sydney Cairns.Damian Fowler (24:09):And remember,Patty Morris (24:11):Reach times engagement equals attention. Culture waits for no one.Damian Fowler (24:16):I'm Damian and(24:18):We'll see you next time.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
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  • Diageo’s Sophie Kelly on why great brand-building starts offline
    In this episode of The Big Impression, Kelly breaks down how Diageo is turning tequila into a global cultural force. One standout example: a six-city collaboration with DJ and fashion icon Peggy Gou that combined out-of-home, merch drops, pop-up events and hyperlocal storytelling. From a Hong Kong hot pot party to a Milan piazza activation, every detail was designed to blur the line between brand and experience.  Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:08):Today we're talking about how one of the fastest growing categories in the spirits industry, tequila and mezcal, is being shaped by culture, identity, and global consumer trends.Damian Fowler (00:20):Our guest is Sophie Kelly, SVP of Global Tequila and Mezcal Categories. At Diageo, she's leading the strategy behind some of the world's most iconic tequila brands, helping Diageo navigate its growth, changing cultural expectations, and the new ways consumers connect with celebration.Ilyse Liffreing (00:39):We'll talk about how Diageo is bouncing global scale with local storytelling, and in short, how tequila has become a cultural force beyond just the shot glass.Damian Fowler (00:50):So let's get into it.Ilyse Liffreing (00:51):Diageo is no stranger to bold campaigns and really intersecting in today's culture. How does your latest work in the tequila and mezcal category continue that legacy? And with your latest campaigns, what was one core story or rather insight that you're trying to bring to life?Sophie Kelly (01:13):Our moment of consumption is normally when people are out socializing, trying to have the best times of their lives or celebrate a major moment in their life. So think birthdays, weddings,Ilyse Liffreing (01:25):Or even here atSophie Kelly (01:26):Can, even here at can, right festivals. So what is really important for us as we build our brands and think about how we go to market is that we are creating experiences for consumers to participate in. I think some of my favorite stuff across the category is on Don Julio. I mean, we launched a brand new product, 1942 Manys, which was a 50 ml supposed to allow people to access the luxury of 1942 at a better price point in a fun format. And we did that in the Oscars, right? But the most recent one, which I just adore and am still obsessed with and is still going, would be our cultural global collaboration with Peggy Goo. She is a number one DJ globally. She's also an icon in the fashion world, and she creates a load of fashion jewelry. We discovered her in Southeast Asia and she was a massive fan of 1942.(02:32):As marketers, we just started to ride along with her and gift her and be a part of her experience. So we approached her and said, any interest in creating a 1942 special limited edition with us? And she was blown away. She was like, yes, but can I design the product? Can I design the experience? Can it be global? Can it travel? Can it be teased? We said yes to all of the above. So we started off in Miami where we had an intimate party, but that intimate party probably had influences at it that had over a hundred thousand followers on Instagram. So we started to tease the collaboration, which was called the 1942 goo. And that's a really important element because we changed the logo of 1942 to be 1942 goo. We teased the campaign with outdoor and these events and we went from Miami to New York, to London to Milan and then to Seoul and then to Hong Kong. New York had a pop-up souvenir store in a car park. When we went to Milan, we did it in a piazza. When we went to London, we did it differently. When we were in Hong Kong, we did a hot pot pop-up. One of the most special parts of the experience was in Seoul, right in her home neighborhood and right next to where she was going to perform. And that was already up six weeks before it came. So we are teasing the drum roll in and the desire for people to be a part of this limited experience.Ilyse Liffreing (04:12):Now, I know you're talking a lot about out of home, but what were some of the other marketing channels that you leaned into for this campaign?Sophie Kelly (04:18):Everything in the popup was consumable or was collectible. So whether it was the key chains, whether it was the hats, whether it was her specifically designed scars, consumers could collect it, they could create content on it and they could share it broader. So then what started to happen was they were creating their own content. She was creating her own content and influencers within her sphere were creating their own content. And then there was the tease that we were moving to a new city. So that was creating a hype in that. So when you think about channel mix, it was digital, it was static, it was experiences, real life experiences, and most importantly, actions doing something, not just talking about it and then providing people with beautiful little artifacts that they could collect from the experiences to participate and create around.Damian Fowler (05:18):We want to get to what your takeaways are in a minute, but before that, I want to ask you, it is interesting when you watch the kind of trajectory of different spirits, it seems like tequila's having a serious moment right now. I mean, for example, in New York, just the other week I ordered a mezcal Negroni, it wasSophie Kelly (05:39):Amazing. 800 new craft brands have been launched into tequila in the last, I dunno, two years.Ilyse Liffreing (05:47):Wow, that is a lot.Sophie Kelly (05:47):So we are seeing a boom in tequila in the same way we saw in North American whiskeys in bourbon in the last five, six years and as a global business unit that I represent. So you are running the gamut of understanding the benefit of the experience of tequila, which is high-end tequilas that are incredibly versatile, that are suitable for multiple occasions and multiple drinks in a culture like the US to teaching people that tequila is no longer that bad shot you had in college. How do you educate? How do you train, how do you get these drinks into culture so that people choose them? Well, you got to have strong brands. You got to have the love of the bartender and the on-premise and you create the biggest rituals there beyond anywhere else, and they travel into the home and then you've got to pick up how consumers are interacting, right? So I'll give you a fun one. For example, we were in the ski fields and we observed that people were taking hot chocolates in shot glasses and then they were tipping the mini that I gave you, the 1942 mini into the top of the shot glass, and that was a serve. So we took that and we scaled it across the ski resorts, right? So from simple mixed drinks to sipping age liquids to fun novel rituals in clubs is how you really fuel what's going on.Damian Fowler (07:19):In terms of takeaways, do you have any kind of data points that show the growth and interest in this category?Sophie Kelly (07:26):It's the fastest growing spirits segment in the category right now and is forecasted to be that way for the next five years. So if you've got spirits running at about three or 4%, you've got tequila running at about six to 11%, which is kind of amazing. It's also very specific on its development. So if you look at the US, it's more developed. You look at Mexico, it's very developed and the rest of the world it's between five and 15% penetration. Give you a fun fact like whiskey and vodka is up around 36, 42 depending on the market. Yeah, too many people associated tequila with college shots. That is not the experience of tequila. It is playing across high energy. It's in the club, it's with the VIPs, it's with the celebrities, but it's also playing in casual connect moments and simple mixed drinks. So you're able to get into cocktail culture as well as simple mixed drinks. So I think that's a lot of the key to the growth we're seeing and just the versatility and the taste profiles.Damian Fowler (08:36):Now that the campaign's out there, you did hit on some of these obviously, but are there key signals and metrics that you look to on your dashboard? As it were,Sophie Kelly (08:45):Our consumers had watched over 190 days of content. We got up to 9 billion impressions, which is pretty extraordinary. And what I'd say is lots of chat about AI and is it going to take over. I think the beautiful combination of cultural collaboration with talent, the right kind of elements in the experience to create talkability and then utilizing tech from a generate insights about the communities and how we're going to combine them and what they need in the experience to also distribution, right? Taking the influencer content, taking the bartender content, taking the experience content and amplifying that out to further bigger audience was critical on distribution.Ilyse Liffreing (09:34):Sophie, can you tell me whether there is a market or a moment that delivered the most surprising engagement or maybe taught you something new out of this whole campaign?Sophie Kelly (09:46):One of the most surprising stats was just how many hours of content our consumers consumed on the campaign because it was so engaging, right? The other thing I'd say is as she traveled, she went into global duty free, she signed bottles, she met consumers, and that exploded as well. So I think one of the surprising things for us was this relationship started in Singapore and then we cultivated it and then we were able to scale it globally, but also make it extremely local to that market.Ilyse Liffreing (10:30):So Sophie, from your perspective, and here's your big impression here, how are those broader cultural shifts really influencing the way Diageo approaches brand building in the tequila and mescal space?Sophie Kelly (10:46):You must create experiences that allow what we like to talk about, which is accessible luxury for people to engage in. So when you think about this, we created the baby mini Peggy Goo bottles, which are 50 ml bottles, and you can access the taste of the experience. I mean, I think formatting is a really simple way of doing it. I think inviting people in to experiences at multiple layers and letting them access a world that they may have sought was out of reach is super important when you're creating experiences. And then I think giving them little artifacts from that to carry through that represent that something special that represents the experience they were able to engage in. IDamian Fowler (11:36):Want to ask you, this is a very important question. What new drinks around tequila are available now? Are you seeing pop up?Sophie Kelly (11:43):I think you said it, the Negroni, the espresso martini. We're even doing old fashions with tequila, and that is a real result of, versus people thinking about tequila as just blanco or mixed in a margarita. We have this huge explosion in aged tequilas, which are really sourcing from whiskey moments and rituals as well as kind of the versatility of tequila.Ilyse Liffreing (12:14):So Sophie, you've worked across several iconic brands. What's one lesson about cultural storytelling that stayed consistent throughout your career?Sophie Kelly (12:22):Work with people who love your brand. Listen to what's happening with your brand and culture, and then add to that, enhance the experience. Don't interrupt it and don't make it up and don't play where you don't have a right to play. Is there aIlyse Liffreing (12:37):Non Spirits brand that you admire right now for the way it connects with people emotionally or culturally?Sophie Kelly (12:45):Labubu. Have you seen these things? Oh yes. Yeah, they are little kind of monster icons that everybody is hanging off their bags. I just love it.Damian Fowler (12:53):A final question I think is what's your favorite drink?Sophie Kelly (13:00):You know what? I am a Don Julio or a Casamigos Reposado on rocks with a slice of orange. I love my 1942, but so they're mine.Damian Fowler (13:16):And that's it for this edition of The Big Impression.Ilyse Liffreing (13:18):This show is produced by Molten Hart. Our theme is by love and caliber, and our associate producer is Sydney Cairns.Damian Fowler (13:25):And remember,Sophie Kelly (13:27):Work with people who love your brand. Listen to what's happening with your branding culture, and then add to that, enhance the experience. Don't interrupt it and don't make it up and don't play where you don't have a right to play.Damian Fowler (13:41):I'm Damian and I'm Ilyse, and we'llSophie Kelly (13:43):See you next time.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
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The Big Impression returns for another season of insights and inspiration from leaders at the world’s most influential brands. Editors and co-hosts Damian Fowler and Ilyse Liffreing will look to uncover candid stories on game-changing campaigns from some of the world's biggest brands — including wins, losses, and lessons. New episodes are released every Wednesday.
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