I was asked recently to speak at the Campaign/ APG Battle of Big Thinking.
A few publisher types such as myself were tagged on at the end of a day of agency planners
pontifications on life, the universe and everything (there was a lot of quantum physics, for some
reason). Anyway, this was my contribution. It wasn’t quite in tune with the day - but it
went down OK, I think..Some of the stats/info might be out of date. Also - I snaffled lots of the
photos in a hurry not thinking about using them online. If anyone has a problem with their use -
please contact me.
There is no shortage of reasons to be utterly miserable at the moment in the media world. But, I
have been plagued with wreckless optimisim – so I’m here to give you
something very rare - a good news story from a media owner..
I believe that if for one second we can look up from, the short term pain we are feeling, and
take a broader look at the health of the media industry, we are in a golden era.
We are living in the era of the Great British Media Brand.
I believe this is happening because of a combination of British creativity, the opportunities
thrown open by the internet, an increasingly global cultural marketplace –
and, of course, the gift of the English language..
And, I believe this is good for consumers. Good for advertisers. And good for the economy as a
whole.
I want to start with Matt Damon. In the Bourne Ultimatum. Here he is on the Eurostar, and guess
what, he’s reading a copy of the Guardian he bought at Gard Du Nord.
What is he reading you might ask? Is it Polly Toynbee on social policy? Is it Charlie Brooker on
why Apple Macs are really Fisher Price computers? Or Hadley Freeman on the fashion pages on
whether it’s ok for middle aged men to keep their shirts untucked? [quick answer
– no because everyone knows what you’re trying to hide].
No – he is reading none of this. He is a ruthless assassin with a heart of
gold and not much interest in fashion, gadgets or the state of the nation’s poorly paid.
He’s readings story about him, Jason Bourne.
Soon he’ll arrive in London and call a Guardian journalist. You’ll see a shot of our
offices. You’ll see a bespectacled editor who looks spookily like Alan Rusbridger.
You’ll see our intrepid journalist go off to meet him at Waterloo. Unfortunately he gets
killed, while Matt Damon gets away – which is a shame – and
possibly not how our PR department might have written the script – but it
makes for a much better film than if Matt Damon had got shot and you have to follow the exciting
escapades of a Guardian journalist for the next two hours.
And the remarkable thing about this – is that the Guardian is featured at all.
Ten years ago, for an American blockbuster, they would either have used the Times
‘Of London’; or created a fictional title – The
Bugle, or The Daily Beast.
And why has this happened? Entirely because of the internet. It is only because of the internet
that our brand means anything to anyone outside the UK – certainly anyone
under 50 – and because of that, they can include the brand because it fits
with the story. Even those who have never seen the paper, or perhaps even the website will be
aware that this is just the sort of story the Guardian would break.
The truth is that in the national press, a set of titles forged in a phenomenally competitive
domestic market, are finding themselves with significant international followings as they forge
ahead online.
Over the last year, we have seen the Daily Mail dramatically increase it’s international
audience – due perhaps to such insightful investigations as this gem I found
on the site today :
“Has ex Blue peter presenter Zoe Salomon used sticky-back plastic to protect her
modesty”. Which features no less than three photos just to help us get to grips with this
tricky issue.
And by sparking off such comments as – and I quote directly: “ So
what has she achieved by wearing such revealing clothes? Imagine her father looking at those
pics…..? Will he be proud by looking at her assets? Of course not!” Tops,
London, 5/11/2008 16:54
And..
“I think she looks gorgeous, but then here in Australia we can recognise class when we
see it!” Bruce McDonald, Melbourne, Australia.
OK – so maybe I’m not the greatest fan of the Mail, but they, errr,
certainly seem to know how to keep their audience happy.
But the global audiences of all the national press combined are dwarfed by the BBC, who now have
a weekly global news audience – on TV as well as online - of 233 million.
Now, like many commercial media owners, I have plenty to complain about with the BBC
– but, you cannot deny their global achievement around news in the last decade
has been spectacular.
They are perhaps the greatest British Media Brand of all - what’s important in
this context, is that it didn’t have to be this way. They could have spent the last decade
bumbling along in White City with their greatest innovation being a new version of the Generation
game – instead, they have become a global creative powerhouse.
There is a similar revolution happening in Magazines – but here it’s
more about licensing. Here is Caroline’s boss – Lord Heseltine on the
Haymarket site, talking about the increasingly global reach of his brands. I will spare you the
full video for the moment – but you can see..
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Autotrader in South Korea. F1 Racing in Singapore. FourFourTwo in Nigeria. Stuff magazine in
Morocco. [can you believe that – Stuff in Morocco?] WhatCar website in
Latvia...
Conceived in Britain. Consumed around the world.
In a different medium, but a similar vein – we are world leaders in the TV
formats. According to the latest estimates we have around 40% of the market –
way ahead of our nearest rivals – the US and Holland.
Pop Idol, The Weakest Link and, unbelievably, Wife Swap have all been round the world
– remade in dozens of countries.
The Office, as you’ll know has been both sold around the world – and
remade. As you can see here – in Germany, France, Canada and the US.
I like to think that the internet played a role in the Office’s global success
– as you know he holds the Guiness World Record for the most popular
podcasts – and these started initially with the Guardian. Ah yes
– Ricky Gervais, he’d be nowhere without us. But,
strangely, you never hear him say thank you!
The current best seller – perhaps the fastest grower of all is the
‘Got Talent’ format – which is everywhere. This is
the website of the Belgian version – which, I think you’ll agree, looks
like a must-watch.
And even comparatively old formats continue to find new markets. You might have noticed earlier
this month that Who Wants to Be a Millionaire is now being launched in Afghanistan
– albeit with a total prize of around £12,000...
All of this points to one of our great strengths as a national media industry
– we are a formidable creative hot house for media brands, and we are also
very good at exploiting them...
We are helped by working in the English language – but, trust me, you
couldn’t give the same presentation about Australia, Canada or New Zealand..
But this goes beyond simply licensing and redistributing. Like all great brands, Great British
media brands are brilliant at evolving. This goes beyond simply chosing which platform to operate
on.
If you were in LA last night, you could have gone to the weekly NME club night, which follows on
from the NME Awards that were held in the same city in April.
The NME has broken out of a petty local scrap with other British music mags onto a broader stage
– bringing in both the net, and live events.
And if you fancy a podcast – you will notice that the Economist now creates
the sixth most popular podcast on iTunes US. That’s the sixth – in
total. Ahead of everything. Bigger than BBC World News. Bigger even than Jamie Oliver. Who, while
we’re at it is another Great British Media Brand!
The Economist has been a phenomenal flag-flier for the UK – a premium product
that has continued to grow in the US, while Time and Newsweek get slimmer and slimmer.The
production qualities on its podcast are frankly less then wonderful, but the core ideas and the
quality of insight more than make up for it.
The internet too has enabled some of our more ambitious cultural brands to start to become real
media brands. Tate is my favourite example.
Tate Modern is the most visited museum of modern art in the world – with
around 5m annual visitors, that is about twice the annual visitors of the Museum of Modern Art in
New York.
Every week, hundreds of thousands of people pour into it -Â engaging not just with
the brilliant art inside, but also with Tate – which has had the foresight to
build on this, and if you speak to their marketing director, Will Gompertz –
he’ll you how they increasingly see themselves as a media company.
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They create their own video – to further the knowledge and
understanding of art – around the world. And they do rather nicely in
sponsorship as a result.
I would put Tate near the the top of my ‘media brands to watch’ over the
next five years.
I think the learning from Tate –and from my next example, is that we know how
to keep pushing our media brands forward. To keep them evolving.
Enter Daniel Craig, and James Bond – perhaps the most valuable British media
brand of all. Recently re-invented and revamped.
I can’t really add anything to the screeds that have been written about this
– other than to point out, just how remarkable it is to have kept this
franchise alive and relevant for over 30 years. It is the most formidable act of media brand
management.
The ingenuity goes beyond the films to the books – where the originals have
been reworked. On the left is the original cover for Casino Royale. In the middle is the 2006
retro edition, and on the right, it’s the Penguin Classics version –
ideal for A Level English Literature. Or, more likely media studies.
But this is mere re-packaging, much smarter has been the introduction of the young Bond books by
Charlie Higson, and getting Sebastian Faulks to follow on from Ian Flemming with the release
earlier this year of Devil May Care – in both cases, bringing Bond to new
audiences..
As we broaden our cultural horizons again – we can see our cultural influence
contining to grow. We have a pretty healthy crop of artists in the US top 50 –
and fortunately, Simon Cowell is only responsible for one of them.
But, the real example of someone rising from being merely a star to a
‘brand’ has to be Amy Winehouse – the only living
popstar (other than Michael Jackson in his Thriller outfit) who has become a staple for Halloween
Fancy Dress.
So that is the end of my whistle stop tour. What, you might ask, makes a Great British Media
Brand?
There are three things I think are often important.
Brand history helps. If only because it means that when people come to work at the BBC, or the
Guardian or the Economist, or the NME – they have more than likely grown up
with it; the understand it as a consumer and they are committed to taking it forward, and make it
relevant for their word.
At the same time – I should add history can hold you back, if you allow it to.
Tate could easily decide it was just a gallery. But it wouldn’t be the same organisation.
Being great on the web helps – not just in terms of distribution and
publishing, but in using it as a tool to engage with your audience – and
vitally to let them engage with each others.
I should stress that online is not the end game – but it is the easiest way
for a media brand to realise it can be more than a local publication.
And finally – success breeds success. The more things people get right, the
more they keep getting right. Simon Cowell (unfortunately some might say) is the perfect example
of that. So is the BBC, but then so again is the Tate, Haymarket’s licensing programme and
the Economist’s podcasts.
If this was just a bit of trumpet blowing – I could stop now. But
it’s a little bit more important that that.
This is not just some triumphal jingoisim And, if you this is not a rehashing of
‘Cool Britannia’ – because, let’s face it,
there isn’t much that is cool about Belgium’s got talent.
Actually, this is just about survival.
The world is getting smaller – so we have a chance to get bigger. Not only
that, but as our economy is slowing down – so we need to look overseas for
growth.
To abuse a quote from Woody Allen –: ‘Brands
are like sharks, they need to keep moving in order to stay alive’ – and
for media brands, that means the constant exploration of new platforms, new ideas and new
territories.
Above all – thinking internationally, thinking globally, makes you better.
From our point of view, you pay much more attention to what you say about the world, when you
know the world is watching you and more than willing to pick you up when you get something wrong.
I make this point repeatedly when people ask me if we’re making any money from our
international audience. Or, if they have a particularly poor grasp of the Englsh
language if we’re ‘monetising those eyeballs’.
As important as our immediate revenue figures are – there is much more at
stake in the long term.
Not everything is going to work – creatively or commercially. But the
alternative – sticking to what you’ve always known, and what
you’ve always done is perhaps the greatest failure of all. Fortunately, I think that is
hard coded into the DNA of the media brands I’ve talked about today.
And if it is essential for us as media owners, it is also essential for advertisers.
Strong brands, with engaged audiences make the best advertising environment. None of us can claim
exclusive access to an audience any more – there are too many alternatives. As
a result, we have to compete not just on the scale of our audience, but the depth of our
relationship with them – ideally on as many different levels as possible.
And, on a broader scale – the economy needs us. We hardly manufacture anything
any more. And now that the financial services sector are either on their knees
or  owned by the state – the creative industries are
frankly the best hope any government has of a good news story.
So – I want to go back to where I started. I believe that right here, right
now – it is time for us to get behind the Great British Media Brands in our
midst.
The alternative is just too teeny to contemplate.
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and reject those that you are not interested in
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