RIESTER

Marketing

RIESTER

RIESTER Creative Showcases Celebrated Football Coach Chris Petersen and Highlights Innovation at Boise State, Idaho’s Largest University

Boise State University TV Commercial Banks on Super Bowl ‘Experience’

On Labor Day, Boise State University will leverage its phenomenal success on the football field to communicate to a national audience its equally impressive accomplishments in academics. A new television commercial that harnesses the innovative spirit of the school debuts on opening-game day, and will broadcast when the high-profile Boise State Broncos hit the field.

“If you’re going to appear on the national stage, you’d better have good stage-hands that know the ropes.” That is the theatrical analogy Frank Zang, communications director of Boise State University, uses to describe his reliance on RIESTER’s experience when it comes to showcasing his school’s attractions on a 30-second TV commercial.  The commercial will air nationally throughout the football season beginning with the Boise State-Virginia Tech game on ESPN this Labor Day, Sept. 6.

In this instance, Zang’s seasoned “stage-hands” are in the form of the creative team from RIESTER, a communications firm with offices in Los Angeles, Salt Lake City and Phoenix. The team was led by Jeff Bagley, creative director of RIESTER’s Salt Lake City office.  Bagley has produced six Super Bowl commercials for Intel and Iomega.

“Those are pretty impressive credentials,” says Zang, of Bagley’s Super Bowl experience. “That gives us a lot of confidence in knowing our institutional commercial has been produced by creative folks who know how to create compelling, enlightening and informative messages that will resonate with a national audience.”

“Boise State University is truly unique” said RIESTER CEO Tim Riester, “From their football team to their research labs they have a winning culture.”

The commercial highlights innovation at Boise State, both on and off the football field. The ad begins with the line “Great ideas don’t fall from the sky, they come from people . . . .” A young boy, filled with hope and potential throws an orange paper airplane from the stands at Boise State’s stadium. Images representing innovative academic work happening at Boise State appear next. The paper airplane eventually lands on the blue turf of the Bronco’s field at the feet of a man. The camera pulls back and the man is revealed to be Coach Chris Petersen revealing the tagline: “Innovate at Boise State.”

“Boise State is innovating in so many fields, from the science labs right down to their iconic blue football field,” says Bagley. “All of this is conveyed in the commercial.”

Jim Breitinger

Commentary on consumption: From ancient Rome to today.

CiceroContemporary marketing has been widely criticized for promoting a culture of mindless consumption. We are proud practitioners of marketing and vocal advocates for mindful consumption and even standing for less. Is it a paradox? Sure. But it’s one that we happily embrace. The rest of this post appeared earlier today on the STAND FOR LESS website:

Born over two thousand years ago, Roman orator Marcus Cicero was an early supporter of the STAND FOR LESS movement:

“Special care should be taken, if you build yourself, not to go beyond reasonable limits in costliness and splendor. In such extravagance great mischief is done by mere example; for very many are anxious to follow the example of distinguished men. Here there certainly is need of a limit, and of a return to a moderate standard. The same standard ought to be applied to the entire habit and style of living.”

Today’s post is dedicated to our in-house expert on ancient Rome, Media Director Ashlye Kennedy.

Jim Breitinger

A Mad Man is Born.

Skip is second from the right, with his ABC colleagues in 1963.

Skip is second from the right, with his ABC colleagues in 1963.

In the late summer of 1963, a young man named Skip Branch set off from Salt Lake City for Los Angeles with his wife. The couple temporarily left their one year-old toddler at home in Utah with his grandparents as Mom and Dad set off for the big city to pursue a new life. Skip was putting himself on a path that would land him squarely into the world of TV’s Mad Men.

At 21 years old, Skip was only a few years younger than the fictional advertising executives and creative staff of the hit AMC show. He had no job lined up, not even any interviews — just a notion that he would become a writer or an actor. Somebody mentioned advertising to him as a possible career so his job search expanded in that direction.

In a month, Skip landed a job with the American Broadcasting Company (ABC) network working in advertising sales. His starting salary was $400 per month. The family moved in to a basement apartment next to the freeway and they barely had enough money for food.

Skip Branch had arrived on the ground floor of an industry at a time in America that Skip says is faithfully captured by Mad Men’s creator Mathew Weiner. His office was at Hollywood and Vine. The famous Hollywood Brown Derby–a place where deals were made–was around the corner. Brooks Brothers suits were the uniform of the day. Skip had arrived.

His first day at work played out like a scene from Mad Men. “Two of the guys I worked with took me to lunch. When we arrived, the waitress already knew what they were drinking: a vodka gimlet and a vodka martini on the rocks. I ordered a vodka martini on the rocks. Before we ordered our food we had to have a second round. One of the guys was on to his third drink by the time our food arrived. By then my cheeks were getting numb and I think I was slurring my speech, so I stopped there. Back at the office I had a cup of coffee and went in to the bathroom and slapped my cheeks so I could face the rest of the day. By the time I drove home I had a hangover. All of this on my first day on the job!”

When asked if he continued to drink after that initial lunch, he didn’t hesitate: “Absolutely. I loved it. I drank vodka martinis on the rocks the whole time I was at ABC.

On Mad Men there is hardly a scene without someone dragging on a cigarette. Skip confirmed that this was indeed the way it was. Offices were filled with ash trays and “98% of the people smoked.” Skip began smoking when he was 16. “It was considered a rite of passage at the private school I attended. I continued smoking until 1966. At that time I was skiing with a friend at Mammoth Mountain. He told me he was going to quit smoking that weekend and I decided I should too. Cigarettes gave me headaches and I knew they weren’t good for me. While people generally knew smoking was bad for them by this time, not very many people were quitting yet. Back at the office I had to explain to people that I didn’t smoke anymore and to some extent I was the odd man out. This remained the case well into the 1970s.”

“Honey,” “sweetheart,” “cutie,” these are the nicknames of the professional women of Mad Men. Skip confirms that this was the norm of the day. From his perspective it wasn’t derogatory, it was just the way things were. The secretarial pool was where most women in the workplace could be found but there were exceptions.

As a 21 year-old starting out at ABC, Skip had his own secretary and it was a 33 year-old man. “This was very unusual.” Skip’s second secretary was a woman and somewhat like Mad Men’s Peggy Olson. “My new secretary was very good and was eager for the job. She would do anything to break in to the advertising business and this was her chance.”

In the 1960s there were “a few women who were executives and they were treated like executives. I didn’t notice that they had less power than a guy. One thing I did know, however, and it’s something that everyone, especially women, knew, is that a woman always made less than a man. This was just accepted and I never heard anyone complain about it (although they may have privately).”

During his ABC years he was sent on a sales trip to San Francisco to meet an advertiser who was “an old broad in the business—that was the term people used at the time.” He was told to be prepared to match her drink for drink when they met as well as the admonition that no matter how she looks and acts, she remembers everything. (For Mad Men fans, imagine someone like season two’s character Bobbie Barrett, but 15 years older, at least 10 pounds lighter after years of rough living, and still very much in the game.) At the lunch they started putting down the martinis. Skip began to slow down his consumption while she steamed ahead. “She began to totter in her seat, and her face finally made contact with her plate. She sat back up and had a piece of lettuce on her forehead that stayed there for the rest of our meeting. Luckily it got knocked off as she stood up to leave.”

Skip says that the feel of Mad Men and the way that the show portrays the social mores of that era are “spot on.”   “I’m as much impressed with the set design, styling and wardrobe as anything else. The smoking looks overdone but it was that bad – enough to make you choke.”

In late 1966 Skip Branch returned to Salt Lake City. At the time ABC offered him a promotion with a good salary to take a job in New York. It was a great opportunity, but he missed the mountains and Alta, his favorite ski area. He was ready to return home. His first job in Salt Lake was as a copywriter. He quickly moved on to become an advertising sales manager at a Salt Lake City television station. In the early 1970s Skip opened his own advertising agency and has been on that side of the business ever since.

In the fourth season of Mad Men the show jumps forward a year from where it left off. The fictional agency from the first three seasons split apart and the show’s protagonist, Don Draper, just got divorced. With a new agency and a new life as a single man in New York this season opened with Don struggling to find his footing.

In 1963 a young Skip Branch found his footing with a start on the media side of the ad business. He had more children and his career flourished. The ABC experience was treated like an elite MBA when he returned to Utah. Skip remains actively engaged in the ad industry as a senior partner at RIESTER, a regional advertising agency with offices in Los Angeles, Salt Lake City and Phoenix. To many of us the early sixties seem very far away. For Skip Branch, it was when he came of age and launched his career as a Mad Man.

Jeff Bagley

Eye Care for Kids helps children see the world, literally.

Eye Care for Kids is a non-profit organization that provides eye glasses for children from low-income families. Amazingly, for a donation of 25 dollars they can provide an eye exam and prescription lenses along with cool-looking frames to a needy child.

RIESTER and Cosmic Pictures of Salt Lake City donated all of the services to create this commercial. The new spot is based on a true story of a child who received a pair of glasses. She then went outside and for the first time in her life saw that trees have leaves.

We hope the telling of this story will generate additional donations so more kids can see to read, learn and enjoy their world.

Learn more about Eye Care for Kids.

Jeff Bagley

Jeff Bagley’s cousin hits an advertising and social media home run with the Old Spice Guy.

Who says nepotism doesn’t work? After hiring my cousin Jason Bagley as a young copywriter years ago at EuroRSCG in Salt Lake City, and yes, teaching him everything he knows, he’s gone on to an incredible career. He is the Creative Director on the wildly successful Old Spice campaign. Yes, he’s on a horse. And it’s running fast for Jason. He and his team just launched a social media campaign featuring the Old Spice stud played by actor Isaiah Mustafa. Over a three day period they created more than 150 personalized video responses to tweets, texts, and Facebook messages. Their efforts paid off big time with plenty of national news coverage. Way to go, cuz.

RIESTER

An interview with RIESTER Media Director Ashlye Kennedy.

RIESTER'S Ashlye Kennedy.

RIESTER'S Ashlye Kennedy.

We sat down recently with our new media director, Ashlye Kennedy, to discuss how she got in to this business and to share her thoughts on today’s media landscape which is changing at ever increasing velocities.

Congratulations on your new role as media director. You received your degree in the classics, how did you make it to advertising?

I knew I wanted to work in advertising when I began college, but I didn’t want to be a marketing major. My aunt worked at Saatchi in New York. She told me it doesn’t matter what you major in, which came as a relief to me. I went with what I enjoyed doing, which was the classics, and my emphasis was ancient Rome.

How does your strong background in the classics help you in your career?

Interpretation of historical events and the study of how cultures and societies develop as well as understanding the influence of the arts and the interplay with broader socio-political environments–all of that connects to what we do. Our focus at RIESTER is understanding consumer behaviors and how we all adapt and change. We focus on how consumers view the world and participate in it. This is why I am drawn to media in particular. I love thinking around things 360 degrees, and understanding how all of us take in the many inputs we have in this world, and what we see and what we do with it. Understanding human behavior, whether in Ancient Rome or 21st century America, is directly connected to what we do at RIESTER.

What are some things that are similar today to the Roman era?

One of the big similarities is that Rome had an open policy with other cultures. As the Romans conquered new territories they let other cultures maintain their identities rather than forcing assimilation. The Romans also struggled with this.

Mirja Riester, RIESTER’s chief strategic officer, discusses this issue in the context of our century: “The entire U.S. consumer market is extremely dynamic and constantly changing. The velocity of social, ethnic and cultural change is accelerating rapidly.”

As a media expert, what are some trends that excite you today?

I don’t know of any period where things have changed as much as they have in the past 10 years. There is always something new coming out. It must be strange for people who started in this business 20-30 years ago. At that time there were long periods of time when the major media changes were the prime-time line up or whether Time or Newsweek was leading in sales. Today, platforms and channels change constantly and we have to sort through what’s working and what isn’t. Now there are new and limitless ways for brands to interact with consumers.

What are some of your methodologies for identifying where target audiences are spending their time?

Something that sets RIESTER apart from local and regional advertising agencies is our use of syndicated research. We insure that we have powerful and targeted research to identify where people are spending their time–because that is changing. It’s one thing to be buying television time when your choices are among five major broadcast networks and a few dozen cable networks. By contrast, the Internet is infinite. What we do best is mapping our media plans to what research tells us regarding what consumers are interested in and where they are spending their time.

Aligning what consumers are interested in and where they spend their time and mapping our media plans to that based on actual research is what we do.

How are you utilizing new media options, such as Facebook?

A social network such as Facebook opens up many new possibilities for our clients and we’re helping them explore those possibilities. Clients are startled as to the reach of Facebook and how inexpensive it is. Our clients are getting a huge impact for a very low cost. Consumers are spending an enormous amount of time on Facebook.

What works and what doesn’t when it comes to digital media?

What works is succinctly identifying your target audience and your message and connecting the dots. There is a danger in messages that are too broad. People will not interact with broad messaging. Clients are better off with multiple messages, so the creative needs to be tailored and synergistic with the site where it appears.

What’s still compelling about television media buys in 2010?

TV still represents the single place where you can capture the largest audience. The fragmentation of the Internet makes it very difficult to develop significant reach. You can still buy a single 30-second TV spot and have a very broad reach. You also have the impact of that “stop moment” in time that is very different in time from being a banner on a page. With a TV advertisement there is that one moment in time when you have the full stage. That remains unique and powerful.

Have you seen a decline in print buys in your media plans?

We use print differently, it’s more targeted. There’s been a decrease in newspaper buys and magazines are more targeted than they used to be. I’d say the Internet took from print more than it took from broadcast.

What’s an effective print campaign you’ve done recently?

We had a lot of success with Veterinary Pet Insurance. We did a campaign with a sophisticated tracking system to track calls and web visits. Print was ideal for this, especially for a direct response campaign. We needed to be able to switch up the message based on what was working. With broadcast this wasn’t an option because it’s so much more expensive to produce many different concepts with different messages. VPI has many different niche audiences based on pet parent demographics and the different demographics based on different pet types. Print gave us great flexibility to address these different audiences.

How has radio changed in the last decade?

Radio has had to get more competitive with their promotional components and making everything they air more relevant to their listeners to increase loyalty. There are so many other options out there: the iPod, and to a lesser extent satellite radio. Radio had to innovate to connect advertiser needs with what consumers are looking for. The immediacy and the creative flexibility of radio is important for driving traffic and sales at specific events.

How do traditional media and digital media complement each other?

Our target audiences are media consumers and as they move through their day they consume media from many outlets. A well designed media campaign pays close attention to this reality.

How is REISTER uniquely qualified to advise clients in today’s media landscape?

RIESTER has a solid strategic foundation in all that we do. We are not a project-based shop where we go project to project or media buy to media buy. We approach campaigns from all angles and develop strategic communication plans for our clients. There is a reason for everything we recommend to our clients.

Thank you Ashlye and congratulations on your new role!

Tom Ortega

RIESTER launches first La Victoria commercial in 20 years.

The La Victoria brand has been on grocery shelves for more than 90 years, but it has not been on TV in more than 20. This week, RIESTER is helping La Victoria end that advertising hiatus with a brand new commercial that targets food enthusiasts of every level.

The commercial, directed by veteran still photographer and director Dana Tynan, embraces the cooking process and the feeling cooks have when they prepare a successful meal. It also features a brand new tag line for the brand: “You. Victorious.” Derived directly from the brand name itself, the line and the commercial speak directly to the confidence cooks have when they use any of the delicious La Victoria products.

RIESTER Blog
Entries (RSS) and Comments (RSS).