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NOVEMBER 27, 2017

DELOITTE’S ALICIA HATCH JOINS OUR ANNUAL LIST OF INDISPENSABLE EXECUTIVES IN MARKETING, MEDIA AND TECH.

Quality audiences and quality content for brands.

Congratulations to Donna Speciale on being named in the Adweek 50.

Thank you for your vision, your leadership and your commitment to the future of advertising.

TM

Upfront

IN THIS ISSUE

THE WEEK IN MEDIA AND MARKETING

NOVEMBER 27, 2017 | VOL. LVIII NO. 32

TOP STORY

20

CHARLIE ROSE

ADWEEK 50

LEGENDARY TV JOURNALIST FIRED AFTER SEXUAL HARASSMENT ALLEGATIONS. BY A.J. KATZ

Deloitte’s Alicia Hatch is one of this year’s most indispensable execs in media, marketing and tech.

On Tuesday, PBS decided to cancel Charlie Rose, the eponymous news program hosted by the veteran journalist, following a Monday report by The Washington Post detailing allegations of sexual harassment by Rose. Bloomberg also confirmed it terminated the next-day rebroadcast of the show.

The news came after CBS News fired Rose from his positions as CBS This Morning co-host and 60 Minutes correspondent.

4

TRENDING

Why brands turned to an animated spots’ strategy.

12 DATA POINTS

What do millennial and Gen Z women splurge on?

52 PERSPECTIVE

What’s a holiday without Ocean Spray?

58

BACK

DynaTAC, the first portable phone.

C O V E R : M AT T F U R M A N ; T H I S PA G E : R O S E , O P R A H , B E Y O N C É : G E T T Y I M A G E S ; I L L U S T R AT I O N S : C A R L O S M O N T E I R O

AD OF THE WEEK

DATA

BRANDED HOLIDAY BIG NUMBER

APPLE Do you believe in love at first sight—or love over the transfer of an earbud? That’s the subject of “Sway,” this year’s holiday ad from Apple. Created by TBWA, it follows a woman walking down a snow-dusted street. She briefly stops to whip out her iPhone X and put on Sam Smith’s “Palace”—transmitted through her AirPods, natch—and the world transforms into a private stage that she dances wistfully across. —Angela Natividad

MOOD BOARD

I N S TA G R A M YOU CAN NOW JOIN A FRIEND’S LIVE VIDEO O N T H E P L AT F O R M .

24

HOURS IN THAT TIME, ALL AD SLOTS FOR THE FOURTH QUARTER ON OPRAH’S PODCAST, SUPERSOUL CONVERSATIONS, WERE SOLD.

The Week in Emojis

KFC $10,000 GETS YOU AN INTERNET ESCAPE POD FROM KFC TO DESTRESS.

BEYONCÉ S H E ’ S T H E H I G H E S TPA I D W O M A N I N MUSIC, PER FORBES.

47 percent

of consumers say they would include a brand in a holiday social post, according to Sprout Social’s Q4 Index Report.

79 percent

of consumers have posted on social media about a major life event (read: engagement, child birth).

Those posts matter for brands.

48 percent

of consumers say they “have made a purchase for a milestone after seeing it on social,” according to the same report.

TRENDING | THIS WEEK’S INSIGHTS

CAMPAIGNS

Drawing Up Success WHY TACO BELL, HEINZ BEANS AND KFC ARE TURNING TO ANIMATED SPOTS. BY KATIE RICHARDS

J

ust as animated TV shows for adults (think cult favorite Rick and Morty or Netflix’s Big Mouth) are having a moment, animated films for brands are hitting their own stride. Tech brands like Lyft and Hinge have used the medium in recent years and over the last few months a new wave of marketers—Heinz Beans, KFC and Taco Bell—have rolled out animated spots.

The timing may seem strange in an era when attention spans are low and six-second ads are on the rise, but brand marketers are hungry to connect with consumers and animation can be the outlet to make it happen.

Overall, brands are finding that animation can cut through the clutter and really strike that emotional chord with viewers online.

“The long-form, animated spot is definitely back on stage,” Howard Belk, co-CEO and CCO for brand consultancy Siegel+Gale, said.

“Advertisers are competing for engagement not only with other products, but with social media content. People are much more accustomed and comfortable now with watching vignettes on their phones—they have been conditioned by Facebook, YouTube, Instagram, Snapchat and other platforms. Savvy advertisers are taking advantage of consumers’ willingness to spend more time consuming content on these platforms.”

Matt Murphy, 72andSunny executive creative director and partner, believes animation is on the rise because it “can be an escape,” he said, adding, “It has the ability to make a bigger, bolder creative leap in terms of storytelling for any brand that wants to embrace it as a tool.”

In April, 72andSunny created a nearly two-minute animated film for toothpaste brand Hello featuring an anthropomorphic dancing tooth cheerily promoting the natural ingredients used in Hello products. Since its release, the spot has scored over 1.6 million views on YouTube alone. “If we just put an actor in front of the camera to talk to you for 90 seconds about toothpaste, I don’t think it would have worked as well as having an animated tooth,” said Murphy.

Taco Bell faced a similar hurdle when devel-

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1

3

2

1 A talking cactus tells Taco Bell’s story about a magical taco. 2 Heinz explains why its beans come in three different can sizes. 3 KFC brought a 56-foot chicken statue to life in its spot.

oping a recent campaign to celebrate National Taco Day. The fast-food brand wanted to promote the holiday with something similar to a Christmas special but also to honor Taco Bell founder, Glen Bell, in a way that felt authentic.

Tracee Larocca, svp of advertising and brand engagement for Taco Bell, explained, “The uniqueness of using animation allows you more leeway in how you tell the story in a way that connects with people.” Since its debut in late September, the 100-second spot, “Glen and the Magic Taco,” has over 1 million views on YouTube.

Animation comes with its challenges, though, as the process takes much more planning and time. Larocca said Taco Bell’s original idea, the one-hour holiday-style special, would have taken far too long to get to market.

Y&R New Zealand also recently produced an animated spot for Heinz Beans to debut a new line of packaging and can sizes in Australia. The agency told the story of “A Can Size for Every Aussie” and the amiable animated character Geoff, who created each of the can sizes. “After writing the script, we thought it would be very hard to get that charm through using real people and real sets,” Ellen Fromm,

copywriter at Y&R New Zealand, said. “For such a cute story, you kind of needed the animation to elevate that.”

KFC worked with Wieden + Kennedy this fall to create “Big Chicken. Small Movie,” an ode to the Big Chicken—a 56-foot-tall hen outside one of the brand’s franchises in Marietta, Ga. “Animation let us anthropomorphize this sharp, metal and potentially terrifying iron statue into a slightly more appropriate friend, and gave the [chicken and a boy] the freedom to travel around the state having adventures that would have looked almost ghoulish in live action,” Jason Kreher, creative director at Wieden + Kennedy, said. Plus it scored KFC over 850,000 video views.

Then, of course, there’s the fact that tapping into animation means brands might appeal to a wider range of viewers.

“Immersive advertising messages delivered in the guise of animated two- to five-minute stories can make complex information palatable,” noted Belk. “The format is excellent for consumer brands that are aiming at entire families. It is as if DreamWorks SKG has produced advertising instead of the next Toy Story.”

NOVEMBER 27, 2017 | ADWEEK

TRENDING

VOICE

AGENCIES’ PRIME OPPORTUNITY HOW SHOPS ARE SCRAMBLING TO MEET CLIENT DEMANDS FOR AMAZON-SPECIFIC SOLUTIONS.

BY ERIK OSTER

I L L U S T R AT I O N : C H E F B O Y R G

A

mazon is no sleeping giant.

As the Bezos behemoth continues along its unstoppable, disruptive path, brands are increasingly requesting Amazon-tailored services.

Agencies have been ramping up their capabilities on the platform and even launching dedicated practices as a response.

Many marketers now view Amazon as a legitimate competitor to Facebook and Google, according to 22squared vp, director of media planning Brandy Everhart. “What they bring to the table is an expensive data set that you can’t get anywhere else,” she said. “We’ve seen a lot of successful campaigns that are focused on driving conversions on the Amazon platform.”

Even brands that don’t sell on Amazon are asking questions due to the power of its search reach and the benefits of its data sets.

“Clients want me to increase their engagement in every possible way,” said Matt Bijarchi, founder and CEO of digital brand studio Blend. “We’ve learned ecommerce is also a brand-building opportunity.”

Some agencies have already embedded themselves within the machine. After WPP performance marketing agency Possible acquired Amazon-only consultancy Marketplace Ignition, the holding group combined its offerings with media network Mindshare to create a service that offers Amazon-specific solutions.

Possible global svp, commerce Frank Kochenash explained that the agency developed Amazon-related services well before the partnership, offering “everything from strategy to content development to content optimization, paid search management, media management, all on or within the Amazon ecosystem.”

Explaining the Mindshare partnership, Kochenash added that conquering Amazon is a challenge for his clients, as “some are scared and some see the opportunity, but they need an Amazon answer.”

Agencies are scrambling to respond. 360i launched its own Amazon Marketplace offering last month. Many shops are also establishing voice practices that focus on Alexa—the indisputable category leader, earning an estimated 70 to 75 percent of voice experiences.

Specifically, Kochenash said the Alexa

ADWEEK | NOVEMBER 27, 2017

algorithm has “a tremendous amount of control” in determining purchasing patterns, something “brands are rightfully concerned about how to address.” He noted brands face two paths to success on Amazon: either create a great product that results in continual reordering, or have a brand that’s already so strong that customers actively seek it out.

Nick Godfrey, COO of digital consultancy Rain, explained that Alexa was so technologically advanced compared to Siri that Amazon had a “head start” over competitors like Google and Apple. Alexa’s established user base also better justifies innovation budgets for clients and agencies.

Voice is “still an emerging platform” with

‘Some are scared and some see the opportunity, but they need an Amazon answer.’

Frank Kochenash, global svp, commerce, Possible

“numbers low across the boards,” Godfrey explained, adding, “If you’re in innovation ... the most voices are on Alexa.”

He also noted that Alexa is particularly important because the platform “devalue[s] third-party sellers” even as it plays a direct role in more consumer transactions; businesses can draw value from voice activations in various ways, from direct conversions to data, learning and increased efficiency. Rain’s insurance adviser voice skill for Safeco, for example, increased efficiency by utilizing the skill for more obvious customer questions and freeing up human advisers for customers who needed more hands-on help.

“If you’re a brand in 2017, you better have

an Amazon strategy,” said Godfrey. “The dominance of Amazon goes hand in hand with the dominance of Alexa.”

Kochenash believes Amazon’s importance “will continue to grow and can go in a lot of different ways depending on what they prioritize.” He cited the company’s “ability to connect audience and advertising action to purchase intent and purchase behavior” as especially critical.

Godfrey offered an even bolder prediction: “I think they’re going to be the first trilliondollar company.”

5

THE LEFTOVERS

Food for Thought

RECYCLED FOODS

There’s a movement to use our food more efficiently—and that means using leftovers to create new, tasty products.

CONSUMERS ARE CONCERNED WITH REDUCING UNUSED FOOD. SHOULD MARKETERS BE WORRIED? BY JOAN VOIGHT

Wasted

Anthony Bourdain’s doc debuted Oct. 13.

W

alk into your favorite grocery outlet. Look around at all the food for sale. Then, imagine dumping a third of it in the garbage.

That’s how much food experts say we discard every day. While some will be composted, most of it is headed for landfills. Sustainability activists have fretted about this for years, but concerns about wasted food are now going mainstream.

Case in point: on Oct. 13, Anthony Bourdain, host and writer of CNN’s travel/foodie show Parts Unknown, debuted Wasted, the feature-length documentary about food waste, in theaters and online.

“Over the last 24 months, more shoppers are concerned about unused food,” said Laurie Demeritt, CEO of The Hartman Group, a market research consultancy.

“In conversations, they’ll bring up the issue of food waste unaided.”

A few major marketers, such as Anheuser-Busch InBev and Quaker Oats, are scrambling to get ahead of the trend.

Simultaneously, a handful of startups are peddling products that not only reduce waste, but use surplus food in their offering, with names like “Misfit” and “Ugly.”

This is just the beginning.

Big Food will inevitably feel pressure to address food waste, but they’ll find themselves in a tricky situation, according to Allen Adamson, founder and CEO of BrandSimple Consulting. “For major food and beverage marketers, anti-waste marketing initiatives will not drive brand preference, but companies have to protect themselves from ending up as the poster child for the problem. So they will [be forced] to invest in an area they’ve never invested in before,” he said.

Quaker Oats approached the issue with an

6

Quaker Oats

The brand ran a contest for recipes using rescued food.

Toast Ale

This beer is brewed using stale bread.

Canvas

The barley milk is produced using spent grain from beer making.

Misfit Juicery

Discarded and misshapen produce go into this drink.

online recipe contest in September. Called “More Taste, Less Waste,” the brand partnered with the James Beard Foundation and chef Marco Canora to challenge professional chefs to provide recipes that used oats and “rescued food,” such as onion and garlic skins. Consumers then voted online for their favorite recipe. “We saw the conversation growing about the food waste epidemic,” said Jessica Spaulding, senior marketing director of Quaker Foods North America. “This is more than a passing trend. As a nutrition brand, our contest was an opportunity to raise awareness and inspire solutions.”

Nipping at their heels are food and beverage startups that use waste as a way to stand out from the crowd. Take Toast Ale, which brews beer with stale bread, and Misfit Juicery, which makes juices with discarded and misshapen produce. In each case, the brand’s name and imagery brag about its less-than-perfect ingredients, and the marketing message revolves around quality and sustainability. Sampling events and social media sites are their bullhorns.

While Toast Ale started in the U.K., it expanded to the U.S. this year; the company uses local bakeries’ discarded bread to brew about 400 cases of beer each month in the Bronx, N.Y. The beer is sold in bars, restaurants and Whole Foods stores in New York and Long Island, as well as on the FoodKick delivery service. “Our unique way of fighting food waste directly fires the imaginations of a wide range of people,” said Madi Holtzman, director of Toast Ale USA. “People are curious; they want to know if the ale tastes like bread.” (It doesn’t.)

The connection between beer and wasted nutrition also caught the eye of AB InBev, which is funding a startup that uses the spent grain left over from beer making to produce smoothie-like, barley milk beverages. Under the brand name Canvas, the flavored dairy-free, high-fiber drinks are slated to hit retail shelves by December. The company’s brand position: “Find the good in everything. Often, things that are cast aside have the biggest impact.”

That sounds a lot like the concept of Misfit Juicery, founded three years ago in Washington, D.C., by a pair of Georgetown University grads. It expanded distribution to New York in April 2017, thanks to word of mouth and support from mentors and other food companies. The brand’s newly updated imagery and tone are upbeat and modern, not preachy, said Katie Levy, co-founder of Gander, Misfit’s design agency. “The idea is that oddball, misshapen things can come together to make a beautiful composition.”

Perfection, in other words, might be overrated.

NOVEMBER 27, 2017 | ADWEEK

BOURDAIN: COURTESY CNN

TRENDING

CONGRATULATIONS

MARC MATHIEU CMO of Samsung Electronics USA

For being honored by Adweek as one of the 50 Executives of the Year.

FROM ALL OF US AT PUBLICIS GROUPE, ONE TEAM SAMSUNG

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hen you’re producing a corporate event, meeting, product launch or marketing activation, the venue can go a long way to creating the memorable experience that consumers share well after its ended. And what could be more striking than a first-class yacht with unobstructed views of the glittering city skyline?

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NOVEMBER 27, 2017 | ADWEEK

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VOICE

Brands, Take a Stand WHY MARKETERS HAVE TO SUMMON COURAGE AND VOICE IN THE FACE OF OUR MYRIAD SOCIETAL CONTROVERSIES.

BY MOLLY DEWOLF SWENSON

At Cannes Lions during a panel I participated on this year, I sat in front of a room full of marketing and advertising execs and asked how many thought it was important for brands to take a stand on important social issues—one hand went up.

Now, this was not meant as a callout. More than half of the winning ad campaigns we had been discussing were “socially charged”—that is, they addressed some relevant sociopolitical issue, from immigration to women’s rights, some with a literal viewpoint like Fearless Girl.

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So, I expected a very different response from the audience, and it got me wondering: how many brands truly make using their voices for the greater good a priority within their business strategies?

I tend to think brands don’t have the luxury of not taking a stand. Companies like Airbnb, Chipotle, Patagonia and others have demonstrated that brands can do more than offer lip service— they can build a successful business and identity on values that are coded into their DNA from the beginning. In fact, all brands can harness cultural moments to reach new audiences and create impact. It’s about finding a way to create a natural extension of internal values beyond a company’s walls.

Oreo struggled for years to reach new markets, and it wasn’t until the controversial, LGBT-supporting rainbow Oreo Facebook post that the brand hit the nail on the head. Airbnb has used its platform to take a strong pro-refugee, anti-neo-Nazi stance, with great praise from press and consumers alike. The most talked-about Super Bowl commercial this year was its direct statement on immigration.

On the flip side, some brands prefer to strike a “neutral yet positive” balance, not addressing current social issues. Or, they take the blanket stance,“We support all people!” But these approaches feel outdated, and they don’t push society forward or make a positive impact. Consumers

want to know: how does a brand feel about DACA? Guns? Women’s reproductive rights? Brands cannot expect to play Switzerland as the rest of the world picks a side. Consumers want the companies they support to harness their power for good, not lay back and let injustices happen.

While I don’t have a traditional marketing and advertising background, I understand the fear many brands have of walking into the sights of controversy, and I’ve been helping them successfully tackle issues that matter through innovative storytelling. When taking a stand, there’s always the risk of potential backlash from people who don’t believe in or care about the cause you’re supporting. But brands can’t let the fear of losing a few customers or viewers in the short term stop them from trying to make a long-term difference; they must still use the resources available to them for good.

As humanitarian filmmakers, RYOT is not the company brands come to for a traditional commercial approach.

When we engaged Clorox, it wasn’t to promote the use of its household products; it was to show how these products also work to provide safe drinking water all over the world.

Through RYOT Studio—Oath’s award-winning, global creative hub—we work with some of the biggest brands in the world to make documentary films and advertising that matters and messages beyond “buy this product.”

Specs

Claim to fame Molly DeWolf Swenson is a co-founder at RYOT, sings a mean alto and enjoys reality, virtual, augmented or otherwise.

Base Los Angeles Twitter @mollydewolf

NOVEMBER 27, 2017 | ADWEEK

I L L U S T R A T I O N : R O C C O B A V I E R A / G E T T Y I M A G E S ; H E A D S H O T: A L E X F I N E

OPINION

Some marketers may push back on this thinking, but when brands avoid taking a stand on tough social issues and on the current news cycle, it’s a missed opportunity. Marketers must ask: What does my brand stand for? There is endless strategizing on creating brand identity, voice and personality, and it has to also include strategizing around a moral framework—some foundation of what a brand believes in and believes is worth fighting for.

This is not secondary to designing a voice on social media; it’s foundational. A brand’s morals and beliefs should inform the way it talks and interacts with consumers and their journeys and society at large, not the other way around.

Having a point of view on issues that matter to a brand—and ultimately, its consumers—is a categorical imperative.

Brands don’t exist in a vacuum, nor can they claim to operate at arm’s length from our larger culture and society.

Brands can embolden and change minds and help to make a positive impact, at scale.

A brand isn’t a bystander. It’s an 800-pound gorilla that has the opportunity—or, dare I say, the responsibility—to leverage not only its corporate social responsibility dollars, but also its products, audiences, media and yes, advertising, in support of the side of history it wants to be on.

The sidelines have been erased. It’s time for brands to get out there and take a stand.

This is an ad.

But you already knew that, because you listen to the Adweek podcast, “Yeah, That’s Probably an Ad.”

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D ATA P O I N T S

When Shopping Is an Investment HOW MILLENNIAL AND GEN Z WOMEN SHOP WHEN THEY WANT TO SPLURGE AND WHAT THEY’RE BUYING WHEN THEY DO. BY ERIK WANDER Young women and teenage girls today are anything but impulsive buyers. They do their homework and selectively splurge on certain products with factors like longevity and quality in mind. According to a recent national survey from Clique on investment purchases, or those that people think about, research and take their time to decide on, women ages 14 to 36 are investing in fashion, jewelry, accessories and beauty more than any other categories, including entertainment or wellness. “[An investment purchase] does not necessarily cost more, but you go through an added effort to make the decision to buy and to make it stand out from other things you own,” Jessica Blumenthal, executive director of insights and analytics for Clique, explained. Clique, the parent company of Who What Wear, Byrdie, MyDomaine, Obsessee and College Fashionista, conducted the survey of 1,100 millennial and Gen Z women and found that nearly three-quarters of millennials and two-thirds of Gen Zers are being more selective than ever about what they buy, investing in milestones and special occasions and rewarding themselves for achievements. “The fact that three in four of the consumers we spoke to agree they’re buying fewer better things indicates to us that this trend, once observed in influencers, is going mainstream,” Blumenthal said.

Millennials

The Thoughtful Shopper

Gen Zers

Opting for Quality

Millennials %

Top categories in which women choose higher quality and spend more …

Are being more selective about items they purchase than in the past.

Fashion

Fashion

86%

89%

Gen Zers %

74 Beauty

Home

77%

78% Entertainment

Beauty

76%

74%

63

Wellness/Fitness

Entertainment

75%

55% Home

Wellness/Fitness

65%

54

49% Travel

Travel

61%

42% 69

Thoroughly research and consider most purchases.

Investment Purchase Starting Points Millennials Gen Zers Travel/ Vacation Budget

65

$1,672

53 Travel/ Vacation Budget

Prefer to buy high-quality products than ones that will save them money.

53

Say they’re buying fewer, better things than in the past.

51

$1,279

Furniture/ Home

$990

More likely to make an investment purchase when ...

I want to reward myself

70% 73% I’m feeling good

65% 69% Things are going well in my personal life

Jewelry

64% 64%

Fashion

$370

Furniture/ Home

$354

$325 59% 62%

Jewelry

$152

Dining out

Things are going well at work/school

59% 62%

Fashion

$288

$120 Dining out

I am feeling bad

34% 26%

$58

*Survey: 1,100 millenial and Gen Z women

Types of Investment Purchases Fashion/ Jewelry/ Accessories

67% 79%

12

Beauty Products, Services

45% 48%

Home

42% 21%

Entertainment

34% 34% SOURCE: CLIQUE MEDIA GROUP

Wellness/ Fitness

20% 17%

Travel

18% 9%

NOVEMBER 27, 2017 | ADWEEK

INFOGRAPHIC: CARLOS MONTEIRO

I feel attractive

Make the holidays stand for more We can all take a stand against cancer this holiday season.

From November 28 through December 12, 2017, make a donation of $25 or more to Stand Up To Cancer through the Miles To Stand Up program and you’ll receive 25 American Airlines AAdvantage® miles for every dollar donated.

Donate and earn at standuptocancer.org/americanairlines

Pictured: Stand Up To Cancer Ambassador, Bradley Cooper along with American Airlines team members currently fighting, surviving and co-surviving cancer.

Stand Up To Cancer is a division of the Entertainment Industry Foundation, a 501(c)(3) organization.

American Airlines and the Flight Symbol logo are marks of American Airlines, Inc. © 2017 American Airlines, Inc. All rights reserved.

Offer valid on contributions made online at www.SU2C.org/americanairlines. Minimum $25 donation required. For charitable deduction purposes, each mile is valued at 3 cents per mile. The receipt of miles may reduce the tax deductibility of your donation. Mileage cap for a 12-month period is 600,000. Bonus miles do not count toward elite-status qualification. Please allow up to eight weeks for the bonus miles to be posted to your account. Donations can only be accepted in U.S. dollars. Donations made in connection with AAdvantage® bonus miles program are not refundable.

FACE TIME

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HONORING THE L.A. BRAND STARS AT DEUTSCH’S STEELHEAD STUDIOS. BY SAMMY NICKALLS On Nov. 15, Adweek partnered with Deutsch at the agency’s new Steelhead Studios for our annual celebration of the L.A. Issue, and more specifically the L.A. Brand Stars. 1 Among the Brand Stars in attendance: (from left) Ryan Immegart, evp, global marketing, Volcom; Susie Rossick, assistant vp, American Honda Motor Co.; Sabina Weber, head of brand marketing, American Apparel; Taco Bell CMO Marisa Thalberg; Soylent CMO Adam Grablick; and Tom Aronson, head of digital media, Walt Disney Parks & Resorts. 2 Event guests mingle over drinks. 3 Michael Dubin, co-founder and CEO of Dollar Shave Club. 4 Adweek contributor T.L. Stanley (r.), who authored the Brand Stars package, hands American Apparel’s Weber her award. 5 Rossick and John Watts, both American Honda Motor Co. 6 Say cheese! 7 Deutsch CEO Mike Sheldon with client Taco Bell’s Thalberg, along with Kim Getty, Deutsch’s L.A. office president, and Deutsch evp, director of digital strategy Lindsey Allison.

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NOVEMBER 27, 2017 | ADWEEK

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CES SPECIAL ADVERTISING SECTION

At CES, Technology Shapes Stories Here’s what marketers will be talking about and listening to in Vegas this year

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t’s easy to think of CES as just a technology conference. After all, it is the place where people come to learn about the new products and consumer tech that are going to change the way we live—if not right away, then several years down the road.

But while technology certainly provides the wow factor, that’s only a part of the story. And story is the operative word.

Savvy CMOs attend CES not only to gape at the aisles of virtual reality, connected home devices, wearables, paper-thin TVs, audio assistants, artificial Intelligence, robots and self-driving vehicles, but to learn how their brands can use them to add value to their overall customer experience.

That’s why this year’s C Space— CES’s program for marketers, content creators and brands—will focus on how technology is influencing advertising and entertainment. Taking place at CES 2018 (January 9-12), C Space is where news from the exhibit show floor gets curated through a marketing lens to help you understand how technologies will impact your business and your customers.

Why is CES important to marketers?

These facts and figures explain: In 2017, CES attracted more than 180,000 industry professionals, had more than 4,000 exhibiting companies on the show floor, and

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some 7,000 media members covered the show. Ninety three percent of the Interbrand Best Global brands and 87 percent of Fortune 100 companies were also represented. More than 33,000 advertising and entertainment professionals took part, and this year’s show should be even bigger.

What should you expect from CES and C Space? Here are some of the things you’ll miss if you’re not in Vegas this January: What’s keeping CMOs up at night C Space is known for bringing in the top influencers that are driving the intersection of technology, marketing and media.

Industry leaders will cover the latest topics CMOs are struggling with. The impact of artificial intelligence on business. What does it mean to be a purpose-driven brand.

The role of original content creation.

Data analytics and transparency and measuring results. These are just some of the subjects that will be covered in the “Storytellers” sessions, where newsmakers share stories and case studies about the unique relationships between brands, entertainment and technology.

This year’s lineup is impressive. A fireside chat with Fidji Simo, Facebook’s VP of product for video, will explore the evolution of video on the platform. Allan Thygesen, president, Americas at Google, will examine

how brands can win today’s consumers with more relevant, assistive and instant experiences. Anda Gansca, co-founder and CEO of Knotch, will run a panel with some big media spenders on how brands and data companies can work together to create an efficient and effective marketing ecosystem Insights into the impact of AI The topic that’s on everyone’s mind this year is artificial intelligence. When you’re on the show floor, everyone will be talking about AI, machine learning, neural networks and cognitive technologies. These sessions will put it all into context.

The team from IBM Watson (Jordan Bitterman, CMO of IBM Watson Advertising, and David Mowrey, head of product and development of IBM Watson Media) will examine how AI and cognitive technology reshape marketing and entertainment.

TBWA’s Troy Ruhanen will lead a frank conversation on how organizations can leverage AI technologies to unlock creative

NOVEMBER 27, 2017 | ADWEEK

business solutions, disrupt the status quo and create a future of growth.

AR and VR in action For several years, everyone has been leaving CES talking about the coming age of virtual reality and augmented reality. But what going to take for these technologies to become part of the mainstream and really enhance the narratives that guide consumer experience? If that’s on your mind, then the Digital Reality Delivers ROI sessions, sponsored by Deloitte, will be the place to get past the talk and into the execution.

Multiple panels will look at how AR, VR and mixed reality implementations are delivering billion dollar efficiencies for the tech, retail, travel and automotive industries. Expect some actual case studies about how digital reality transforms corporate processes, as well as a frank look at past expectations that maybe fell short and the AR/VR/MR accelerators that will disrupt the enterprise over the coming year.

ADWEEK | NOVEMBER 27, 2017

The shifting consumer journey Technology changes consumer behavior, and strategic advisory firm Medialink will again curate conversations about what it takes to transform digital technology into relevant marketing. The Marketing Reinvented track will look at immersive media, storytelling technology, data and analytics and other technology impacting the customer journey and next-generation communications Lessons from entertainment C Space includes programs developed specifically to help Hollywood navigate CES, and there are opportunities for marketers to learn from their practices. Variety will be presenting the Entertainment Summit, which will look at three topics every advertiser needs to know about: the future of TV, the best in brand storytelling and the power of custom engagement.

The music industry gets its due as well.

The Where Music and Technology Collide

track will not only look at things like the impact of streaming on music and the role of VR in the music experience, but a panel will also go deep on how technology has reinvented the relationship between artists and brands.

Keep networking Many CES attendees talk about how a chance meeting on the show floor turned into something more. With a dedicated space headquartered at Las Vegas’s ARIA, C Space creates ways for unexpected encounters to evolve into new opportunities.

Meeting spaces, hospitality suites, lounges and more drive the connections that will create the partnerships that change the face of marketing and advertising.

Want to learn more about CES and C Space and why marketers need to attend?

Visit CES.tech/CSpace.

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More proof that true leadership can motivate an entire industry to do better.

Congratulations to Marc Pritchard and all the Adweek 50 honorees.

ADWEEK

For these movers and shakers, the future arrives every day, as they traverse the fast-morphing business landscape to deliver more customers, increase revenue, improve the user experience—and make their CEO bosses look good. Welcome to the Adweek 50, our annual celebration of the most indispensable executives across marketing, media and technology. Two themes define this year’s list: transformation and automation. Harnessing the power of bots, machine learning, big data and advanced algorithms drives the entire ecosystem forward with the promise of greater speed, efficiency and profits. These pioneers are leading the charge, using cutting-edge tech guided by hard-won insights to blaze new trails for the rest of the industry to follow. — David Gianatasio

50

F E AT U R E

Alicia Hatch

50

DELOITTE DIGITAL’S CMO BOLDLY GOES INTO THE ‘GRAY SPACE,’ WEAVING TOGETHER BUSINESS STRATEGY AND INDUSTRY INSIGHTS TO FORGE CREATIVE CLIENT SOLUTIONS. BY DAVID GIANATASIO

Alicia Hatch plays to win, embracing substantial risks to reap big rewards at Deloitte’s agency group, as it continues driving deep into territory long held by traditional shops and holding companies.

“I grew up in the video games industry, which was a hotbed of innovation at the intersection of technology, marketing, retail and entertainment,” Hatch recalls of her nearly eight-year tenure at Microsoft through 2010 in Xbox business development. That experience “taught me to be at home in the land of things that had never been done before,” she says.

Applying such gamesmanship at Deloitte Digital— where she’s spent a half-dozen years, including the last two and a half as CMO—Hatch has become a key architect reshaping the content and commerce ecosystem. John Hancock/Manulife’s selection of Deloitte’s Heat agency for global creative this summer—ending the Hancock brand’s three-decade relationship with IPG-owned Hill Holliday—seemed to signal just how far global consultancies have come in the lucrative brand-building game.

This push by Deloitte, Accenture, PwC and their brethren represents one of the defining trends in the industry today. At Deloitte, canny acquisitions—Acne, Heat, Market Gravity and Web Decisions among them—and partnerships with Apple and Facebook have provided signifi cant tools to win business and help clients grow across all aspects of the enterprise. And the effect is

reciprocal. Year over year, Deloitte Digital boosted its global revenue 32 percent to $3.1 billion.

“With consultancies on the move to take on the increasingly complex issues facing global businesses, their list of client services is expanding at a pulse-quickening rate,” says Judy Austin, a marketing professor at Boston University. “Yet, deploying this vast array and depth of data analytics, strategic solutions and creativity will require deft, insightful individuals able to balance the science and art that is part of the concerted effort to connect to the hearts and minds of us ordinary mortals.”

Hatch, of course, is one such individual, tasked with guiding and growing an increasingly diverse and connected web of data, technology and more than 10,000 pieces of human capital—while also delivering quantifiable results for clients through savvy digital campaigns that drive sales.

“We’re making creativity more important than ever by tying it more closely to the heart of the business strategy and industry insights,” says Hatch.

Indeed, these ties to clients—Deloitte has long provided consulting services to Hancock, allowing Heat to leverage a wealth of marketplace expertise and information—give its agency group a distinct advantage over its holding-company competition.

Transamerica provides another example. When the firm engaged Deloitte to tout its retirement offerings to a new generation, “It sounded like

PHOTOGRAPHY BY MATT FURMAN

a classic marketing challenge, but it was not,” Hatch says. Ultimately, Deloitte Digital brought in designers, ethnographers, wealth management experts, creative directors and data scientists to devise a holistic approach “that allowed Transamerica to be a disruptor of its own industry, while the core legacy business remained intact,” she says. “The key was not simply that we had vast capabilities—the power came from bringing those capabilities together to co-design the future of Transamerica together with their C-suite.”

Where’d Hatch learn to roll with such changes?

She credits a key mentor, Microsoft corporate vp Bonnie Ross (who runs 343 Industries at Xbox, the studio behind the Halo franchise), with providing inspiration and direction she draws on today. “[Ross] taught me to be at home in the land of things that had never been done before,” Hatch recalls. “I came to her once with a recommendation that we try something that was in uncharted territory. I was hesitant, and acknowledged that … no one had done this before, and she said, ‘So what? Why don’t you be the one to fi gure it out.’ She taught me to embrace ambiguity and explore the messy gray space, to think expansively and creatively about possibility, to get really comfortable with being uncomfortable, and to have great courage when I was still a very young Jedi.”

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SHANE ANKENEY

PRESIDENT, HAVAS MEDIA GROUP N.A. 2016 REVENUE: $120 MILLION (EST.)

CHIEF TECHNOLOGY AND INNOVATION OFFICER, ACCENTURE 2016 REVENUE: $33 BILLION

CHRISTIAN BORGES

SVP, MARKETING, TRUE [X] AND FOX ADVANCED AD PRODUCTS 2016 REVENUE: $27.3 BILLION (FOX TOTAL) For Borges, the future is now, as his team toils tirelessly to perfect ad systems across the Fox Networks Group, expanding the frontiers of brand messaging in a streaming, VOD world.

“Advertising continues to get more personal, more engaging and more thought provoking than ever as we collectively fight for the time and attention of consumers,” says Borges.

“The way we harness the power of technology and innovation to drive these changes will impact the industry for the next decade.

That’s the shit that keeps me motivated!” Case in point: the recent rollout of Up//Lift, a brand-lift optimization system fusing sentiment data with machine-learning algorithms. —D.G.

Do folks like Daugherty keep WPP’s Martin Sorrell awake at night? The holding company chief recently dismissed the incursion of tech giants and consultancies into the agency sphere as “fake news,” but the mere fact that he saw fit to tackle the subject surely means Accenture and its ilk are preying on his mind. For three decades, Daugherty has been a prime architect of Accenture’s transformation and expansion.

Along with founding the firm’s cloud computing business, he helped launch its Big Data, Open Source and SaaS operations, and plays a key role in shaping AI, AR and VR. “What will really define success in this era is a truly human approach,” he says, “focusing on how people and machines come together to achieve new possibilities.” —D.G.

PAMELA DRUCKER MANN

CMO, CRO, CONDÉ NAST 2016 REVENUE: $2 BILLION (EST.) After doubling revenue at Condé Nast’s Food Innovation Group influencer network in her five years at the helm, Drucker Mann was tasked with finding a winning recipe company-wide to broaden the publisher’s appeal to a new generation of audience and advertisers. Twice promoted in recent months, she now serves as the media giant’s first female CMO and CRO, responsible for marketing across 22 brands and divisions. Notably, she led the high-profile “Next Gen” campaign in 2017. That push focused on emerging editorial luminaries like Elaine Welteroth and Phillip Picardi at the red-hot, uberrelevant Teen Vogue, along with rising stars at properties ranging from Allure to GQ Style and Wired. —D.G.

PAMELA EL

CMO, NATIONAL BASKETBALL ASSOCIATION, WOMEN’S NATIONAL BASKETBALL ASSOCIATION NBA 2016-17 SEASON REVENUE: $8 BILLION (EST.)

To hype the return of men’s pro basketball this fall, El launched a series of ads under the anthemic “This is why we play” tagline, dubbed “I’m Why,” showing emotional fan and player highlights from last season, when the NBA Finals and championship games scored their best TV ratings in nearly 20 years. A professed data geek, El continues to hone her digital-dominant strategy, personalizing fan engagement and experiences with the goal of boosting numbers beyond the stratospheric 1 billion people who watched NBA games last season. (There are 1.4 billion social media followers.) For the WNBA, a multiyear deal to livestream games on Twitter will help the tech-devoted El spread the female league’s “Watch me work” message around the world. —T.L. Stanley

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A N K E L E Y: C O U R T E S Y O F H AVA S M E D I A ; B O R G E S : R A Q U E L B E A U C H A M P ; D A U G H E R T Y: C O U R T E S Y O F A C C E N T U R E ; E L : S T E V E N F R E E M A N / N B A E V I A G E T T Y I M A G E S

“If people aren’t having fun with what they’re doing, they likely aren’t going to do it very well,” says Ankeney, who’s served as president of Havas Media’s domestic ops for the past two years. “So, I try to inject some spontaneous fun into all that we do. Culture is critical and if you don’t get that right, it doesn’t really matter what else you’ve got.” In recent months, Ankeney’s ushered plenty of fun through the agency’s door in the form of huge assignments from Sanofi, BristolMyers Squibb and Michelin. That performance follows a banner 2016, when Havas was honored as Adweek’s U.S. Media Agency of the Year. —David Gianatasio

PAUL DAUGHERTY

SHAKING THINGS UP

TWO YEARS IN A ROW.

Congratulations, Kristin Lemkau for making the Adweek 50 list two years running. Your leadership and pioneering vision inspires us daily.

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RITA FERRO

PRESIDENT, ADVERTISING SALES, DISNEY-ABC TELEVISION GROUP 2016 AD REVENUE (S&P GLOBAL MARKET INTELLIGENCE’S KAGAN): $3.7 BILLION (EST.)

CAROLYN EVERSON

ALVIN BOWLES

So, you’re a family-friendly brand, and the mobile campaign that took four agencies, six months and seven figures to create just ran next to some soft-core porn and profanity-laced alt-right screeds.

That’s every CMO’s nightmare, but on Facebook’s Instant Articles and Audience Network, Everson’s got you covered, implementing controls including placement and category opt-outs. “We have made a lot of progress over the last 12 months, and we’ll continue to work with our advertising partners to understand their needs and build a more brand-safe digital advertising ecosystem,” she says. Moving forward, such improvements—plus her ongoing efforts across Facebook and Instagram to finetune third-party measurement and drive better business results—will have a huge impact on the entire interactive ecosystem. On the publishing

and operations side, Bowles is tasked with growing publisher relationships and improving transparency, measurement and ROI across the network. Toward that end, Facebook began testing header bidding with the Daily Mail, Forbes and others to create a streamlined and supple system for programmatic ad buying. (Publishers could see revenue spikes of up to 30 percent through this process, Facebook says.) Other initiatives include category blocking in order to prevent ads from appearing near potentially infl ammatory content. “My main focus is to make sure we build a business that is committed to quality and run with integrity,” he says. “Too often, we see networks that compromise those values in favor of short-term monetary gains, which does not create a better consumer experience or generate results for the publisher or advertiser.” —D.G.

VP, GLOBAL MARKETING SOLUTIONS, FACEBOOK 2016 REVENUE: $27.6 BILLION (FB TOTAL)

VP, GLOBAL PUBLISHER SALES AND OPERATIONS, FACEBOOK 2016 REVENUE: $27.6 BILLION (FB TOTAL)

PAULO FOGACA

MANAGING DIRECTOR, DAVID 2016 REVENUE: $22 MILLION (EST.) It’s no secret that Ogilvy & Mather’s David agency has been on fire in recent years, crafting lauded and innovative campaigns such as “Pass the Heinz,” “Google ‘Home of the Whopper’” and, of course, Burger King’s “Burning Stores.” While the creative team gets most of the glory, and deservedly so, Fogaca’s role, which he assumed in 2014, is pivotal. The executive cultivates and nurtures global client relationships and lures talent from around the world to make David’s success a reality. “I feel like we’ve become the agency where people want to go to in order to get the opportunity to do great work,” he says. —D.G.

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F E R R O A N D E V E R S O N : K WA K U A L S T O N

Ferro, who had led Disney Channel sales since 2010, was promoted in February to oversee ad sales for Disney-ABC’s entire entertainment, news and kids portfolio—which was merged for the first time—as well as the new Disney Digital Network. She got right to work in the company’s first combined upfront, landing CPM increases in the high single digits across all ABC dayparts and the cable portfolio. Next up, she’s working to maximize revenue for ABC’s breakout fall hit, The Good Doctor, as well as the highly anticipated return of American Idol, which will make its ABC debut on March 11. —Jason Lynch

Alicia Hatch just made the Adweek 50 without ever getting off her conference call.

Congrats.

You’re worth the wait.

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KEITH GROSSMAN

GLOBAL CRO, BLOOMBERG MEDIA 2016 REVENUE: $9 BILLION (EST.)

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Watch out, consultancies: Bloomberg global revenue chief Keith Grossman has you in his sights. In August, a year after advancing to CRO from head of U.S. sales, Grossman helped launch a practice that taps into Bloomberg’s vast trove of data and resources to offer business consulting services under newly hired global chief commercial officer Andrew Benett, a longtime Havas executive. That move expands the media company’s footprint and opens fresh revenue streams in a brutally competitive environment. On the streaming front, his team secured sponsors such as Goldman Sachs, Infiniti and TD Ameritrade for the debut of a 24/7 live news network on Twitter. —D.G.

JED HARTMAN MANOJ GOYAL

All told, he’s built a nine-figure ad business at the Jeff Bezos-owned media company in less than three years. Key initiatives include launching a brand studio, as well as an adtech division called Red. Both are hailed as leading-edge operations that give WaPo a shot at generating glowing financial headlines of its own for years to come. “I am most proud of the efforts the team has made to improve the user experience in advertising,” Hartman says. “We have created more than a dozen ad-tech products and even have a patent.

All are laser focused on being incredibly respectful of our audience while bringing value to our marketing partners. These efforts are helping to lead the entire ecosystem towards improvement.” —D.G.

CHIEF PRODUCT OFFICER, MARKETO 2016 REVENUE: $240 MILLION (EST.) With more than two decades of experience in ad tech and mar tech, this computer scientist’s career stretches back to the dawn of online commerce, and includes posts at Oracle, HP and EMC. Seeking to tap into his deep experience with CRM and big-data analytics and passion for AI, marketing automation software giant Marketo hired Goyal in May to lead its engineering and product management groups.

He’s already had a significant impact, helping launch Marketo Content, the company’s AI product, and playing a role in the firm’s selection of Google Cloud to support future growth as it focuses on simplifying life for advertisers across the enterprise. —D.G.

GREG HOFFMAN

CMO, NIKE 2017 FISCAL YEAR REVENUE: $34.4 BILLION Breaking2 was no ordinary stunt—it was Nike’s “moonshot” attempt to train, support and film the world’s best runners trying to bust the two-hour marathon mark. It also was a tech-advanced product launch, a National Geographic documentary, an ad campaign and an inspiration for pro and amateur athletes. It’s a Hoffman specialty, along with heart-tugging, memorable spots (from Wieden + Kennedy) congratulating winners (Roger Federer for his eighth Wimbledon title, the Houston Astros for their first World Series) and saluting beloved retirees (the NBA’s Kobe Bryant). Hoffman’s latest: branded jerseys for all 30 NBA teams (chip-embedded versions for fans) and an AR-enabled app, a new way to drop coveted, limited-time sneaks. —T.L.S.

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GROSSMAN: BLOOMBERG MEDIA; HOFFMAN: COURTESY OF NIKE

CHIEF REVENUE OFFICER, THE WASHINGTON POST 2016 REVENUE: $100 MILLION (EST.)

UKONWA OJO SVP, Visionary, Trailblazer

Congratulations to our fearless leader, Ukonwa Ojo, on being selected for The Adweek 50.

I am what I make up.

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DAWN HUDSON

EVP, CMO, NATIONAL FOOTBALL LEAGUE 2016 SEASON REVENUE: $14 BILLION From the time she arrived at the vaunted sports league three years ago, Hudson has faced one controversy after another, from Defl ategate and domestic violence issues to ratings declines and current player protests. She’s answered with marketing campaigns that focus on the field rather than the sidelines, with this season’s fan-centric “Random Acts of Kickoff” experiences, and on messages of unity, re-airing the 60-second Super Bowl spot dubbed “Inside These lines,” after President Donald Trump criticized NFL stars. Looking for the broadest audience (NFL remains the country’s most popular spectator sport) and skirting politics, the Pepsi-Cola veteran has become an offensive and defensive expert, saying a few months into her gig, “It’s easier to drive change when things are in flux than when things are going well.” —T.L.S.

MARGARET JOHNSON

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HUDSON: KEVIN SCANLON

A 20-year GS&P veteran, Johnson, already one of the industry’s leading creative lights, blazed especially bright in August 2016, when she was named the first female creative chief at the legendary shop. Switched-on campaigns such as big Cannes winner “The Cheetos Museum”—an online repository for cheesy snack crisps that resembled familiar people and objects—and Tostitos’ “Party Safe Bag,” which gauged sobriety, fused creative innovation and cutting-edge tech. Such high-profile work across PepsiCo’s Frito-Lay portfolio helped GS&P snag the company’s beverage division in September following a review. Liberty Mutual came aboard a few weeks later. —D.G.

PHOTO: FIRST LASTNAME

CCO, PARTNER, GOODBY SILVERSTEIN & PARTNERS 2016 REVENUE: $100 MILLION (EST.)

CONGRATULATIONS

Congratulations to Shane Ankeney for being selected for Adweek 50! Your Havas Media Team is super proud of you.

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TOM KLEIN TIM KENDALL

PRESIDENT, PINTEREST 2016 REVENUE: $300 MILLION (EST.)

EVA KANTROWITZ

CHIEF STRATEGY OFFICER, HORIZON MEDIA 2016 REVENUE: $325 MILLION (EST.) Elevated to strategy chief at the end of 2016, Kantrowitz believes that Horizon’s future prospects are, quite literally, Limitless. That’s the name of an internal initiative she spearheaded at the indie media shop, designed to inspire the next generation of leadership, with a focus on empowering female employees. Look for a Limitless industry-wide rollout next year. Elsewhere, she helped reorganize Horizon’s data and analytics practice, yielding a more efficient, performancedriven approach. “We focus on the use of data to drive meaningful connections, positive results and accommodate fastchanging campaign strategies,” she says. Of late, such moves have generated connections with clients like Sprint, which tapped Horizon for its $700 million business in May. —D.G.

A Facebook alum, Kendall joined Pinterest in 2012 as product chief, ultimately leading the company’s growth team and helping to launch the Promoted Pin, its first and best-known ad unit. As president for nearly three years, he’s focused on longterm monetization through bringing aboard notable ad partners like Chase, Target, Toyota, Universal Pictures and Walgreens. “Advertisers consistently tell us that they are looking for new ways to influence consumers early in their decision-making journey,” Kendall says.

“Since people are planning early on Pinterest, and often haven’t made a brand choice yet, our platform is a unique and optimal place for businesses to reach new customers.” —D.G.

IMRAN KHAN

CHIEF STRATEGY OFFICER, SNAP INC. 2016 REVENUE: $405 MILLION

These days, plenty of folks recognize the MailChimp name—even when it’s mispronounced “MailShrimp,” “FailChips” or “VeilHymn” in the company’s entertaining ads from Droga5. “I think the best piece of advice for someone looking to market a young brand is this: be different— not just different for its own sake, but different in a way that’s distinctly personal and aims to connect with real people,” says Klein. Seeking to expand sales connections for MailChimp clients, Klein’s working hard to help the company evolve from a pure email player into a diversified digital marketing platform offering three major channels—Facebook, Instagram and Google—as well as free, state-of-the art automation services for all customers. —D.G.

Snap! With the March IPO in the rearview mirror, and Wall Street less than enamored of the company’s performance so far, Khan has transitioned from leading strategies at a plucky social startup to forging a long-term growth path for a fast-maturing digital brand. Toward that end, he’s bolstered measuring, targeting and self-service for Snap’s ad offering, most notably through initiatives such as Snap to Store and Snap Ad Manager. His team was also instrumental in bringing aboard key partners like Time Warner, which inked a $100 million pact in June to create shows for the platform, and NBCUniversal, which announced a deal with Snap for a scripted content play led by the Duplass Brothers. —D.G.

DANIEL LEE

GLOBAL VP, PARTNER SOLUTIONS, SPOTIFY 2016 REVENUE: $3.1 BILLION At Spotify, Lee’s been pumping up the volume on people-based marketing to help the music streaming service leverage its connection to global culture and attract more advertising dollars.

Topping her playlist is “Understanding People Through Music,” a much-praised, multifaceted global push that ties the listening habits of Spotify’s 140 million users (more than a third of whom are paid subscribers) to brand sentiments and purchasing behaviors. The company’s revenue situation has been upbeat, with a gain of more than 50 percent year over year, despite some sour notes as its loss more than doubled. —D.G.

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K ANTROWITZ: ZACK PERL/HORIZON MEDIA; KENDALL: JACON HINMON; KHAN: K ARL J. K AUL; KLEIN: COURTESY OF MAILCHIMP; LEE: RAQUEL BEAUCHAMP

CMO, MAILCHIMP 2016 REVENUE: $400 MILLION

INNOVATIVE LEADER POWER PLAYER STAR EXECUTIVE JO ANN ROSS 2017 ADWEEK 50 HONOREE

©2017 CBS Corporation

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MARNE LEVINE

COO, INSTAGRAM 2016 REVENUE: $3.2 BILLION (EST.)

KRISTIN LEMKAU

These days, Instagram means business, with Levine hyper-focused on connecting consumers with commerce across the Facebook-owned image- and video-sharing network. “Our goal is to give our community more ways to share their stories with the world, and bring them closer to the people and businesses that matter the most to them,” she says. Levine has grown the platform’s business community to more than 15 million through diverse initiatives such as shopping and branded content, and the recent rollout of the full-screen mobile Ads in Stories format. “Looking ahead, we’re focused on expanding beyond a place where you go to find a business, to becoming a place where business gets done,” she says. —D.G.

ANN LEWNES

CMO, ADOBE 2016 REVENUE: $5.85 BILLION

CMO, JPMORGAN CHASE 2016 NET REVENUE: $99.1 BILLION

Adobe’s long-term prospects look sunny thanks to a gathering of clouds. We’re speaking of cloud computing, of course, and Adobe’s all-in with the spring rollout of its Experience Cloud, a suite of services for managing ad spends across diverse channels and devices. Adobe teamed with Goodby Silverstein & Partners for cheeky ads touting the launch, including a memorable bank-robbery scenario where the tellers know seemingly everything about the masked perps, a metaphor illustrating Experience Cloud’s granularity and targeting prowess. “As the marketing landscape becomes increasingly dynamic with the explosion of new technologies, media formats and screens, don’t lose sight of the heart of marketing,” says Lewnes. “A great brand with purpose, combined with powerful storytelling, stunning creative and a vibrant, engaged base of customers, is your biggest asset in the long run.” —D.G.

Part of an influential group of CMOs working to reform the problem-plagued digital media system, the 19-year company veteran directed an in-house project that manually vetted 400,000 websites where Chase ads had been running. (Most weren’t legit.) In addition to carrying that mantle, Lemkau has focused on creating compelling (not “sponsored”) content with partners like Ozy for a co-branded newsletter, Group Nine for a social video series called NowThis Money, and LeBron James and Maverick Carter for Kneading Dough, where superstar athletes that also include Serena Williams and Draymond Green discuss their personal finance experiences. It’s not content “for its own sake,” she says, but “the type that drives business outcomes, not just clicks or views. And it delivers on our brand promise to help people make the most of their money, not just sell product.” —T.L.S.

BOB LORD

CHIEF DIGITAL OFFICER, IBM 2016 REVENUE: $79.9 BILLION (IBM TOTAL) An ad-tech pioneer and industry thought leader with executive positions at AOL and Razorfish on his resume, Lord became Big Blue’s first digital chief in April 2016, as the company stepped up its efforts to develop a technology-based agency model designed to compete against the holding companies (and keep pace with consultancies like Accenture, Deloitte and PwC). Most recently, IBM has transformed how developers engage with company products by providing millions of lines of free code, as well as training opportunities. What’s more, a partnership with Lightbend provides tools for developers to quickly and efficiently build and deploy advanced AI and cognitive applications. —D.G.

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GEORGE MANAS

PRESIDENT, RESOLUTION PERFORMANCE MARKETING 2016 REVENUE: $205 MILLION (EST.)

JOE MARCHESE

SEAN MORAN

The ad sales chiefs from three of the biggest media companies joined forces this year to create and launch OpenAP, a standard audience-targeting platform for buyers that should ignite the industry’s data-based advertising efforts—as well as their respective bottom lines. Separately, they each made their share of big moves to warrant inclusion on this year’s list. Marchese, who was promoted to oversee Fox Networks Group just five days before Fox’s upfront event in May, immediately began unveiling a series of bold initiatives to shake up the industry, including bringing six-second ads to linear TV—a move that rival networks are already beginning to copy—and dropping standard ads from FX’s digital

and VOD platforms. Speciale doubled down on her company’s audience-based and VOD offerings, securing double-digit upfront increases in both, as she also experimented with linear pod takeovers and devised new methods for advertisers to reach its sports consumers via the in-house Turner Ignite Sports marketing agency and a new VR partnership with Intel for TNT’s NBA games. And Moran helped Viacom turn the page on last year’s tumult by radically overhauling the company’s upfront approach, and scrapping most of its lavish presentations in favor of intimate dinners with agencies to spotlight Viacom’s new direction. For their efforts, all three chiefs walked away with singledigit CPM hikes in this year’s upfront. —J.L.

PRESIDENT, ADVERTISING REVENUE, FOX NETWORKS GROUP 2016 AD REVENUE (KAGAN): $3.36 BILLION (EST.)

HEAD OF MARKETING AND PARTNER SOLUTIONS, VIACOM 2017 FISCAL YEAR AD REVENUE: $3.75 BILLION

DONNA SPECIALE

PRESIDENT, TURNER AD SALES 2016 AD REVENUE, ENTERTAINMENT NETWORKS (KAGAN): $3.05 BILLION (EST.)

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MORAN: STUDIO BROOKE; SPECIALE: COURTESY OF TURNER

This NYU literature major keeps Robert Frost’s maxim “the best way out is always through” in mind as he traverses the increasingly complex media landscape. “The industry is at a critical tipping point where traditional marketing practices have been turned on their head by a digital economy,” he says. “The best way to get out of this successfully is to go through it and embrace the ever-evolving marketplace wholeheartedly.” Delivering on that promise, Manas revved up Omnicom’s tech-based buying— with all search, social, programmatic and DRTV consolidated under the Resolution brand—and generated 30 percent year-over-year growth.

Forging a data-driven, API-based buying capability with Snapchat should help the group and its clients drive even further through new territories. —D.G.

YOU ARE SIMPLY

MAGICAL!

Congratulations to Rita Ferro, President of Disney ABC Sales and Marketing, on being named to

ADWEEK’S 50 MOST INFLUENTIAL MEDIA EXECUTIVES.

from your friends at

F E AT U R E

MARC MATHIEU

CMO, SAMSUNG ELECTRONICS AMERICA 2016 REVENUE (GLOBAL): $173.3 BILLION

UKONWA OJO

SVP, COVERGIRL 2017 FISCAL YEAR REVENUE FOR PARENT COMPANY COTY: $7.6 BILLION

SUSIE NAM

COO, DROGA5 2016 REVENUE: $170 MILLION (EST.) Operations chief since 2015, Nam plays a vital role in Droga5’s current success (20 percent revenue growth this year) as she leads forwardlooking efforts across data strategy, customer experience innovation, performance marketing, design, production and media planning. The goal: spur organic growth, so the shop doesn’t have to rely so heavily on new-biz roulette.

Recently appointed to the Adcolor board of directors, Nam believes that empowered employees are the greatest resource of all. “It is crucial to our business, and our industry, that we invest in them, to move them from individual star performers to true leaders,” she says. “Equally important is creating a place to work where people of diverse backgrounds want to join us.” —D.G.

CoverGirl has been “easy, breezy, beautiful” for decades, but it was time for a change, says Ojo, who this year led the most dramatic reinvention in the brand’s 60-year history.

With an assist from new agency Droga5, the General Mills and Unilever alum launched “I Am What I Make Up,” a campaign that positions CoverGirl products as powerful tools for “self-expression, creation and transformation.” The work, including a diverse array of non-supermodel spokeswomen like chef and author Ayesha Curry, 69-year-old dietitian Maye Musk, motorcycle racer Shelina Moreda and HBO’s Insecure creator Issa Rae, means to counter “idealized perfection,” Ojo says, spark “a movement to elevate how the beauty category communicates” and “inspire people to embrace their unique identities.” —T.L.S.

MARC PRITCHARD CHIEF BRAND OFFICER, PROCTER & GAMBLE 2017 FISCAL YEAR REVENUE: $65 BILLION

As digital media hit its 21st birthday this year, Pritchard saw little cause for celebration.

Instead, he publicly pointed out its shortcomings (fraud, transparency and brand safety issues) and led a mini-revolution of deep-pocketed advertisers that insisted on change.

(P&G’s ad purse alone tops $2.4 billion annually). “We will vote with our dollars and will not waste our money on a crappy media supply chain,” he said at the recent ANA Masters of Marketing Conference.

Facebook, Google and others snapped to attention, causing “a sea change in the digital media ecosystem,” Pritchard said, with better safeguards, measurement and accountability set to be in place by year’s end. Alongside that effort, the influential exec also shook up P&G’s everyday advertising to address racial and gender inequality and to make culturally diverse images “the norm, not the exception.” —T.L.S.

STEVE RABUCHIN

VP, ALEXA VOICE SERVICES AND SKILLS, AMAZON 2016 REVENUE: $136 BILLION (AMAZON TOTAL) ALEXA SMART SPEAKER MARKET SHARE: 70 PERCENT

If you catch Rabuchin animatedly chatting with a chair, lightbulb or ottoman, don’t be concerned—he’s probably just engaging in a little R&D. “Our vision is that customers will be able to access Alexa whenever and wherever they want,” Rabuchin said of Amazon’s popular voice AI, speaking to Adweek in August. “That means customers may be able to talk to their cars, refrigerators, thermostats, lamps and all kinds of devices in and outside their homes” to obtain information, engage in ecommerce or just turn out the lights before bed. Some 67 million voice-assisted devices should be in use domestically by 2019, a nearly 33 percent increase from today. With Alexa’s skill set at 25,000 (and growing), and its market share hovering around 70 percent, Amazon’s talking a pretty good game for the future. —D.G.

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M AT H I E U : B R A D T R E N T F O R T H E WA L L S T R E E T J O U R N A L ; P R I T C H A R D : J E R E M Y K R A M E R ; R A B U C H I N : D AV I D PA U L M O R R I S / B L O O M B E R G

It seems counterintuitive to deemphasize the product, but Mathieu thinks the best way for Samsung to evolve its marketing is “not to talk about devices, but to talk about the people who use our devices,” he told Adweek recently. His approach has humanized the tech brand as it bounced back from 2016’s recall, breaking preorder records for its new Galaxy S8 and Note 8. The data-loving exec, a Unilever and CocaCola veteran, launched Samsung 837, a New York-based interactive playground for consumers and marketing lab for the brand, developed a creator’s platform to cultivate next-generation storytellers under the global “Do What You Can’t” mobile campaign, and forged partnerships for intellectual property with Vice and The New York Times. —T.L.S.

SOME PEOPLE LEAD SOME PEOPLE DO SOME PEOPLE DO BOTH

Bloomberg Media Group is proud to congratulate

KEITH A. GROSSMAN Global Chief Revenue Officer @KeithGrossman

F E AT U R E

SRIDAR RAMASWAMY

SVP, ADS, COMMERCE, GOOGLE 2016 REVENUE: $89.5 BILLION (INDEPENDENT OF OTHER ALPHABET DIVISIONS) Even though Google returned $11 billion in ad revenue to publishers last year, grousing continues on various fronts, with questions swirling around plans for the Chrome browser to block “annoying ads”—which some suspect will allow Big G to favor its own formats. Ramaswamy insists this simply isn’t so, and that Chrome will also stop substandard ads served by Google. “Our hope is, once this is in place, there’s no need for ad blocking on mobile,” Ramaswamy said at an event in October. “That’s the race we need to have in this industry because mobile is the future.” Google also recently strengthened its ties to Salesforce, coupling that firm’s CRM tools with Google Analytics and its G Suite of business-oriented apps. —D.G.

RAJA RAJAMANNAR

Coining a term for the latest tech gizmos (he calls them “enablers”), Rajamannar is a pro at using what he’s dubbed “the toys and the trinkets, the shiny things.” That led him to alliances with Swarovski where consumers could, in virtual reality this fall, shop for and buy chandeliers, and with Marie Claire for a tricked-out pop-up store and mobile app. But Rajamannar never forgets that “understanding human emotion is not the same as data and analytics,” he told Adweek recently. That’s why he’s revamped MasterCard’s ubiquitous Priceless rewards campaign globally to focus on experiences, giving consumers a chance to create and share their journeys, illustrating his mantra: “Storytelling is dead, long live story making.” —T.L.S.

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RAJAMANNAR: GETTY IMAGES FOR PTTOW!

CMO, MASTERCARD 2016 NET REVENUE: $10.6 BILLION

THE NBA CONGRATULATES PAM EL EXECUTIVE VICE PRESIDENT, CHIEF MARKETING OFFICER

ON BEING SELECTED TO THE ADWEEK 50.

F E AT U R E

JO ANN ROSS

PRESIDENT, CHIEF ADVERTISING REVENUE OFFICER, CBS CORP. 2016 CBS AD REVENUE: $4 BILLION

EVP, CMO, UNIVISION 2016 REVENUE: $3 BILLION In the aftermath of Hurricane Maria, Rodriguez joined other Univision staffers in Puerto Rico, offering what comfort they could and relieving team members who had worked around the clock for days. Such efforts echo her marketing strategy for the Hispanic media giant. One example: the award-winning “Tu Gente. Tu Voz” (“Your People. Your Voice”) campaign, stressing the bonds between Univison’s media teams and the viewers they serve across 126 local television and radio stations. “As we see the minority population become the new majority, our commitment as a mission-driven company has never been more critical than it is today,” she says. “I am proud that our teams continue to engage with campaigns that connect our community.” —D.G.

JENNIFER SAENZ

CMO, FRITO-LAY 2016 REVENUE (GLOBAL) FOR PARENT COMPANY PEPSICO: $62.8 BILLION A fan of quirky, eye-catching stunts, Saenz opened a Cheetos Museum (filled with orange-snack replicas of people, places and things) and a pop-up restaurant with Cheetos in every dish, called The Spotted Cheetah.

(The joint was packed.) But the innovation and strategy expert has tackled serious issues like drunk driving, women’s rights and voter registration, making sure each tactic “feels approachable,” she told Adweek recently. A tech-enabled Tostitos “Party Safe” bag for Super Bowl LI detected alcohol on revelers and gave Uber discounts, while Doritos encouraged participation in the 2016 election by handing out cardboard chips to college students who weren’t registered to vote. The faux food represented “no choice,” and according to Saenz, helped the brand “stay relevant in consumer conversation.” —T.L.S.

TED SARANDOS

CHIEF CONTENT OFFICER, NETFLIX 2016 GLOBAL STREAMING REVENUE: $8.3 BILLION As Netflix continues to take over the world—it now has 109 million global subscribers—Sarandos is fueling the streaming service’s growth with a murderers’ row of original series, specials and movies.

This year, returning hits Stranger Things, Orange Is the New Black and Master of None were joined by new breakouts like 13 Reasons Why, American Vandal and Mindhunter, plus comedy specials with Chris Rock, Jerry Seinfeld and Amy Schumer. (He also quickly cut ties with House of Cards star Kevin Spacey in the wake of sexual abuse allegations made against the actor.) In September, Netflix won 20 Emmys, more than any other network except for HBO. And Sarandos will be making an even bigger bet next year, spending as much as $8 billion on content, far more than any other outlet. —J.L.

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NOVEMBER 27, 2017 | ADWEEK

R O S S : C B S E N T E R T A I N M E N T; S A E Z : S E A N T. S M I T H

JESSICA RODRIGUEZ

In her 15th year heading up the CBS ad sales team—she’s the longest-tenured network ad sales chief—Ross once again met the high bar set by her boss, chairman and CEO Leslie Moonves. In the upfront, she delivered high single-digit CPM increases in prime time and low doubledigit increases in morning, daytime and late night (where CBS This Morning and The Late Show With Stephen Colbert are thriving), making some deals on the C35 metric, which includes commercials viewed as much as 35 days later. In August, she was promoted to president and chief advertising revenue officer, and now oversees the company’s integrated broadcast and digital teams as she focuses on multiplatform monetization. —J.L.

passion You live and breathe your brand. You push for greatness. And we couldn’t be prouder to be your agency.

Congrats, Diego.

F E AT U R E

EVIN SHUTT

COO, 72ANDSUNNY 2016 REVENUE: $30 MILLION (EST.)

KERN SCHIRESON

EVP, CHIEF DATA OFFICER, VIACOM 2016 REVENUE: $12.5 BILLION “We’re leading the industry on how we use data to connect fans to content, how we maximize the impact of advertising, how we create value in our distribution partnerships and even how we work together with our competitors,” says Schireson, who was promoted to data chief at Viacom in March. Long a champion of leveraging data to extend the company’s reach and strengthen its grasp, he played a key role during this year’s rollout of OpenAP, the industry’s first open platform for cross-publisher audience targeting and measurement. Working with rivals Fox and Turner, the program aims to boost transparency across the ad-buying spectrum, with Accenture handling third-party auditing. —D.G.

CMO, VERIZON 2016 REVENUE: $89.2 BILLION A champion of inclusion in the workplace, Scotti has gone beyond making sure his own ranks are diverse (59 percent women and people of color). He’s insisted that his agencies follow suit, mandating diverse hires and tracking companies’ progress. He’s overseen the launch of marketing boot camps, AdFellows internships and other recruiting programs to find and nurture new talent. Hiring Verizon’s first chief creative officer, Scotti built an inclusive in-house agency (50/50 white/nonwhite, 52/48 percent female/male) and brought on the first chief customer experience officer. Aiming to close the digital divide, he kicked off the #weneedmore campaign with LeBron James, Adriana Lima and other spokescelebs, encouraging kids to pursue math and science as prep for careers in tech. —T.L.S.

JOEL STILLERMAN

CHIEF CONTENT OFFICER, HULU 2016 REVENUE (KAGAN): $2.1 BILLION (EST.) Hulu had a breakout year with The Handmaid’s Tale (the first series from a streaming service to win an Emmy for outstanding drama) and the launch of its live TV offering, and now Stillerman—who came over from AMC Networks in May—is working to build on that momentum and help Hulu give Netflix a run for its money. He’s doing that by cultivating both Hulu’s acquired content library (this year it added The Golden Girls, Will & Grace, This Is Us and TGIF shows like Full House and Family Matters) and its growing originals slate, including Castle Rock, an anthology series inspired by Stephen King’s novels, and The First, from House of Cards creator Beau Willimon. —J.L.

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K E R N : B L O O M B E R G M E D I A ; S C O T T I : C O U R T E S Y O F V E R I Z O N ; S H U T T: C O U R T E S Y O F 7 2 A N D S U N N Y

DIEGO SCOTTI

It’s been a busy few years for Shutt, whose mission to “expand and diversify the creative class” informs her management style. She’s co-authored a “Mission Playbook” on the subject, and puts her theory into practice by hiring more female creative directors and leading the Los Angeles-based “Girl Squad” creative workshop series, giving women a vital forum for networking and support. “Innovation is at the heart of our industry and diversity drives innovation,” she says. Diversifying the agency’s geographical offering, Shutt led 72andSunny’s expansion into Australia and Singapore, while business innovations include launching both a production unit and the Sundae influencer division, which seeks to connect brands with a 100-person creator network for social media projects. —D.G.

CONGRATULATIONS TO MICHELLE WILSON And All Of The Adweek 50 Honorees

F E AT U R E

KARIN TIMPONE

GLOBAL MARKETING OFFICER, MARRIOTT INTERNATIONAL 2016 FISCAL YEAR REVENUE: $17 BILLION If someone posts a honeymoon photo to social media from any of Marriott’s 5,700 hotels around the world, Timpone can act on it, making sure the newlyweds get a bottle of champagne or a room upgrade. That real-time engagement stems from M Live, the Cannes Lion-winning social-media listening hubs and their 24/7 command centers that allow the brand to create “personal relationships” with its visitors. The studios, four and counting, combine the art of storytelling and the science of data, two of Timpone’s favorite and most-used marketing tactics. The globe-trotting exec, who rarely gets jet-lagged, oversees the massive multiplatform “You Are Here” ad campaign created

by Grey and shaped by consumers, along with a Universal Music alliance that gives Marriott loyalists VIP treatment, backstage access and other concert perks. Next up: an intimate show from Gwen Stefani at the Renaissance Downtown Hotel, Dubai. —T.L.S.

JON SUAREZ-DAVIS

Suarez-Davis paid his dues leading global media and digital strategy at Kellogg’s for six years before joining Krux, a data-management platform that CRM giant Salesforce acquired in late 2016. Earlier, he was svp, digital strategy and planning at Leo Burnett/ Starcom. So, he’s experienced the transformation of the industry from different perspectives, and applies that knowledge to create “meaningful and tailored brand engagement in an always-on, always-connected world,” he says. Examples include Salesforce’s recent move to more closely integrate its services with Google’s G Suite, Analytics and Cloud offerings, as well as the launch of Salesforce Data Studio, which is designed to connect data owners with buyers and create opportunities for audience discovery, sharing and activation. —D.G.

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TIMPONE: KEVIN SCANLON

CHIEF STRATEGY OFFICER, SALESFORCE MARKETING CLOUD 2016 REVENUE: $6.67 BILLION

F E AT U R E

RIK VAN DER KOOI

CORPORATE VP, ADVERTISING SALES, MICROSOFT 2016 REVENUE: $85.3 BILLION (MICROSOFT TOTAL) “As we look to the future, our goal is to guide clients through this era of digital transformation, and put all of Microsoft’s advertising, data and cloud capabilities at their disposal to build connections with consumers in new and innovative ways,” van der Kooi says. Innovations range from constantly evolving bots—its Bot Network helps users build such automated programs with sundry skills (Microsoft’s #HowOldRobot reads faces to estimate a user’s age)—to an expanded relationship with Publicis for crafting highly engaging AI experiences through a customized version of Cortana. —D.G.

MELISSA WATERS

VP, MARKETING, LYFT VALUATION: $11 BILLION (AS OF 10/2017, A 50 PERCENT INCREASE OVER 2016) In launching the brand’s first national ad campaign this fall, Waters sharpened Lyft’s position as the friendly alternative to the embedded and embattled Uber under the tagline, “It matters how you get there,” from Wieden + Kennedy New York. In one spot, actor Jeff Bridges tells consumers to choose their ride “with the right people, doing things for the right reason,” a not-so-subtle dig at the competition. That humanizing approach is credited with bumping up market share, pushing the ride-share service into more U.S. cities and securing $1 billion in venture capital funding last month.

(International expansion could be next.)

Waters, a Pandora veteran, led Round Up & Donate, which has doled out more than $2 million to charities, and #GiveADamn with Budweiser that has delivered 150,000 trips to combat drunk driving. —T.L.S.

KEITH WEED

CHIEF MARKETING AND COMMUNICATIONS OFFICER, UNILEVER 2016 REVENUE: €52.7 BILLION Add “user experience” to the list of concerns that Weed has had about advertising on digital media (along with brand safety, fraud and transparency issues) because it’s “not in line with the empowered consumer’s expectation of faster, better, more relevant content,” he said at Advertising Week. He’s been a leader in this year’s successful movement to begin reforming the digital ecosystem, while separately launching programs to stamp out stereotypes from the packaged-goods giant’s ads (he debuted Unstereotype at Cannes, along with a partnership with UN Women) and create brands with purpose. The latter, Sustainable Living Brands, is growing more than 50 percent faster than the rest of Unilever’s business and delivering more than 60 percent of the company’s growth. —T.L.S.

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NOVEMBER 27, 2017 | ADWEEK

Keeping the future in Congratulations, George Manas, on being named to the Adweek 50! Your ability to embrace the present and believe in the future inspires us all.

F E AT U R E

LINDA YACCARINO

CHAIRMAN, ADVERTISING SALES AND CLIENT PARTNERSHIPS, NBCUNIVERSAL 2016 AD REVENUE: $10.4 BILLION Once again, Yaccarino was the biggest winner in this year’s upfronts, wrapping sales of close to $6.5 billion, with volume gains (8 percent) far higher than her competitors as she leveraged NBC hits like This Is Us and Saturday Night Live. She also is leading the charge in mining new revenue streams outside of Nielsen’s traditional age and gender demos, transacting $1 billion in ad inventory this year on data-based advertising via her company’s Audience Studio. And the best is yet to come: in 2018, Yaccarino will oversee ad revenue from an unprecedented trio of global sporting events: the Super Bowl, the Winter Olympics and Spanish-language rights to the World Cup. —J.L.

MICHELLE WILSON

Fans from every U.S. state and 62 countries flocked to WrestleMania 33 in Orlando, Fla., last summer to see what Wilson describes as WWE’s family-friendly mix of “reality TV, drama, comedy and live sports all rolled up into one.” The event, which broke the Citrus Bowl’s attendance records with 75,000-plus people and grossed $14.5 million, cemented its status as the global entertainment company’s version of the Super Bowl.

Wilson, an XFL and U.S. Tennis Association marketing vet, has landed sponsorships with Cricket Wireless, KFC, Nestlé, PepsiCo, Snickers and others, while overseeing the franchise’s Mattel deal for WWE’s first fashion dolls based on female superstars.

She launched the global WWE Network, in three years becoming one of the most popular OTT services with 1.5 million paid subscriptions. —T.L.S.

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W I L S O N : C O U R T E S Y O F W W E ; YA C C A R I N O : C H R I S L O U P O S

CHIEF REVENUE AND MARKETING OFFICER, WORLD WRESTLING ENTERTAINMENT 2016 REVENUE: $729 MILLION

1. If you are not worried about keeping up, you should be. The CEOs that Lord talks to are concerned about ˇnding people who are nimble in how they can plan, execute and scale initiatives. 2. The forecast is not partly cloudyóitís an overcast of computing. Being an IBM marketer, of course, Lord brieˇy addressed Watsonís abilities to help businesses compete in this data-driven era. Systems need to ìhandle the entire worldís population tweeting simultaneously,î the CDO ex-plained. ìIf you are only leveraging 20 percent of the worldís data, you are at a disadvantage.îóBob Lord, CDO, IBM 3. Wanted: in-house data scientists. For organizations that want to catch up or stay ahead, he said, recruiting will be key. ìCognitive developers and data scientists, I believe, are the right talent that you need.î individualsí data.î 4. Get your hands dirty with dataóor else. Lord pointed to the fact that his employer predicts that there will be 3 million data scientists and analytics jobs by 2020. 5. Artiˇcial intelligence. And, do marketers need to know AI? Yep, Lord said. ìI think AI is going to be incredibly important to anyoneís career wherever you are,î he remarked. ìI donít think artiˇcial intelligence will ever take the human being out. What it will do is allow human beings to make better decisions and faster decisions.î

Congratulations, Bob, on helping us see the complete

picture and on ìgetting the job done.î From your friends at

IBM and its logo and ibm.com are trademarkks of International Business Machin chines Corp., registered in many jur jurisdictions worldwide. See currennt list at ibm.com/trademark. Other er product p and service names might ht be b trademarks of IBM or other ther companies. © International Busi Business Machines Corp. 2017. © Oggilvy & Mather 2017.

F E AT U R E

BRYAN YASKO

“It’s no secret that the value of agencies is being questioned like never before,” says Yasko, who has served as Johannes Leonardo’s president since March 2016. “In a way, we’ve done it to ourselves, because we’ve lost sight of what our real value is. It’s bigger than efficiencies, ROI and the next shiny innovation. Our real value is in being a true business partner to our clients—helping them to sort through their most complex, difficult business problems.” Putting that mantra to work yielded an 82 percent revenue gain over the past year, and several big assignments, including MassMutual AOR responsibilities, added without a formal pitch. —D.G.

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PAUL DAUGHERTY

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PRESIDENT, JOHANNES LEONARDO 2016 REVENUE: $26 MILLION (EST.)

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TROY YOUNG

YOUNG: KEVIN SCANLON

PRESIDENT, HEARST MAGAZINES DIGITAL MEDIA 2016 REVENUE: $10.8 BILLION (ALL OF HEARST), HMDM OCTOBER UNIQUE VISITORS: 210 BILLION “You need to be both crafty and courageous to navigate this period of transformation in media,” Young says. “There will be a couple of scaled global players that lead the lifestyle media business in the future. We will be one of them.” Those bold words are backed up by significant momentum. Hearst has aggressively courted a younger audience and worked to diversify its titles by leveraging Snapchat Discover (where the legacy media company has seven brands, making it the platform’s largest publisher), Facebook Watch (two shows live and five in production) and Musical.ly (Seventeen magazine will develop a show about beauty and fashion for the app). Also, the company recently unveiled a content-to-commerce offering to help ad partners drive consumers further along the purchasing funnel. —D.G.

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There might be 50 indispensable executives, but there’s only one Eva.

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Congratulations on being named to the Adweek 50 List. Thank you for your leadership and your HULU Eva-ship, from your entire Horizon family and a very proud agency indeed.

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Perspective ON THE ORIGINS OF BR ANDS AND THE PEOPLE WHO BUILD THEM

BRAND NAME THE MOTION

That shimmy that the cranberry sauce makes owes itself to the pectin released in the process of cooking the berries.

(It’s not an artificial additive.)

Ocean Spray Cranberry Sauce ➜

HOW THAT CANNED WIGGLY STUFF WITH THE LINES ON IT FOUND ITS WAY TO EVERYBODY’S HOLIDAY TABLE. BY ROBERT KLARA

THE LOGO

Cranberries have nothing to do with the sea, but Ocean Spray’s founder believed the name would evoke the mists and freshness of his cranberry bog.

THOSE LINES

The concentric rings that add strength to cans also leave imprints on the cranberry sauce— and give the side dish its signature, if campy, look.

P R E V I O U S PA G E : R A Q U E L B E A U C H A M P ; T H I S PA G E : B O G : N Y D A I LY N E W S V I A G E T T Y I M A G E S ; C I V I L WA R : G E T T Y I M A G E S ; A L L O T H E R S : C O U R T E S Y O F O C E A N S P R AY

Ocean Spray sets up bog at Rockefeller Center in New York.

Got sauce? After cranberry sauce was served to Union troops in the Civil War (left), demand for the food grew until Marcus Urann (inset) began selling his Ocean Spray strained cranberry sauce in cans (above). Though it’s hardly necessary to get Americans to like cranberry sauce, Ocean Spray does try to educate the public about how cranberries are grown with this portable bog (far left) that travels around the country during the holidays.

L

ast year around this time, legendary chef Jacques Pépin dropped by the Rachael Ray TV show to help prepare some traditional holiday fare. “Thanksgiving is the biggest holiday for me,” the courtly Pépin said in his untamed French accent. Then a hint of frustration crept into Pépin’s voice as he admitted that, even though he makes a sumptuous cranberry relish from scratch, “my wife wants this.”

He was pointing to a can of cranberry sauce.

It is the culinary enigma of the winter holidays. Though this is arguably the one time of year when home cooks go the extra mile in the kitchen—turning out toilsome turkeys, picture-perfect pies and all variety of side dishes made from scratch—cranberry sauce from the can not only gets a pass, it usually gets a prominent place on the table, where it sways and waggles in all of its can-shaped splendor.

And chances are that can says Ocean Spray on it. The brand commands 70 percent of holiday cranberry sauce sales. And of the 78 million containers Ocean Spray makes each year, 80 percent moves off store shelves in the six weeks between Thanksgiving and Christmas.

“It’s a cult American product,” said the company’s communications director Kellyanne Dignan. Dignan has observed that people outside the U.S. don’t fully understand why we so revere this burgundy-colored berry glop. But no American requires an explanation.

“It’s part of who we are,” she says.

ADWEEK | NOVEMBER 27, 2017

Fast Facts

1863 First official Thanksgiving 1912 Ocean Spray founded.

700 farms in the Ocean Spray co-op 78m cans of Ocean Spray made each year.

Serving suggestion: cut into rings.

Cranberry sauce has been part of who we are since 1863, when President Lincoln called for a “Day of Thanksgiving” for the Union troops. New York City restaurants like Delmonico’s rallied behind the cause and sent four steamers’ worth of victuals down to General Ulysses Grant’s men in Virginia: hams, peaches, turkeys, cakes—and cranberry sauce. It was this event (not the much-ballyhooed “first thanksgiving” of the Pilgrims) that enshrined cranberry sauce as an American holiday tradition.

But not the canned kind. That would take the vision of a lawyer named Marcus Urann.

In 1912, Urann purchased a bog of Vaccinium macrocarpon bushes and began canning his own cranberry sauce. He called it Ocean Spray—a name that evoked the mist that appeared over Urann’s Massachusetts bog, and a name adopted by the growers cooperative that took over the cranberry production in 1930. As Dignan explains, since cranberries are only grown in northern climes, the canned product enabled Americans who couldn’t get the fresh fruit to enjoy cranberry sauce.

And, over time, we have come to expect it.

Even the stuff ’s perceived shortcomings—the sweet taste (from the added fructose), the gelatinous consistency (from the natural pectins) and the cylindrical shape (from the can, of course—right down to the ridges)— have been consecrated by nostalgia, and are now cherished in their own right. Scoff if you wish, but famous foodies from Alton Brown to Sunny Anderson have given their official nods to cranberry sauce in a can.

As has chef Pépin’s wife.

The great divide For as long as anyone can remember, cranberry sauce lovers have been split into two camps: fans of the jellied variety and those who prefer the chunky kind with whole berries.

For the record, Ocean Spray sells more of the smooth stuff and believes the preference runs in families.

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TA L E N T P O O L Curriculum Vitae Vp, consumer connections, AnheuserBusch InBev (U.S. media, digital, sponsorships, events and beer category) April 2017 - Present Global vp, marketing, Anheuser-Busch InBev (core brands and category strategy) July 2016 – April 2017 Marketing director, premium brands, Anheuser-Busch InBev (Corona, Stella Artois, Budweiser) Sept. 2014 – July 2016

Job Profile

Joao Chueiri

IS THE SPONSORSHIP MODEL BROKEN? HOW AN EXEC OF ANHEUSER-BUSCH INBEV IS CHANGING THE GAME. BY KRISTINA MONLLOS Joao Chueiri believes the sponsorship model is broken, but he’s thinking ahead.

Currently, he’s on a mission to revamp how AnheuserBusch InBev approaches sponsorships. Next year, he’s planning to launch the company’s in-house content factory, Bud Studios, with a new sponsorship structure in place.

Chueiri joined AnheuserBusch three years ago from Nike, and in that time, he’s had three different roles. In April, Chueiri was named vp of consumer connections at Anheuser-Busch InBev, where he oversees media, digital, sponsorships, events and the company’s work to promote the beer category at large. “My job is to use [A-B

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InBev’s resources] to connect our brands with people in innovative and relevant ways and keep raising the bar within the marketing industry,” explained Chueiri.

“Joao isn’t just changing the playbook for how our brands engage consumers— he’s writing an entirely new one,” noted Marcel Marcondes, U.S. CMO, Anheuser-Busch.

“From Bud Light and Budweiser to Michelob Ultra, Anheuser-Busch has some of the most talked about brands in the U.S., and Joao is a big reason why.”

Glowing words, but what does that actually look like?

If you’re a fan of John Mayer or Lady Gaga, you might have heard about Chueiri’s work.

An intimate event like Bud Light’s Dive Bar Tour using a consumer’s passion point—in this case, music—to drive a deeper connection with a brand is exactly what Chueiri is tasked with spearheading.

The company already works with big music festivals like SXSW, Lollapalooza and Stagecoach and has partnerships with many U.S. sports teams, as well as the MLB, NBA, NFL and PGA. While Chueiri’s role existed before he joined the team, he’s given it a different scope.

“My focus, overall, has been to bring people and passion points to the center of our strategy,” Chueiri explained.

“We are now reshaping our sponsorship strategy—moving

from a focus on sports and music to a broader scope based on consumer passion points while also having a hyperlocal mindset. I’m leading an evolution of our media principles, bringing occasions and passion points to the center of our media planning and truly leveraging media as a tool to create differentiation across the brands in our portfolio.”

With the 2018 launch of the company’s in-house content factory, Bud Studios, Chueiri’s goal is to “not just maintain our leadership in earned media among the beer industry, but become the benchmark for capturing consumers’ attention no matter the category.”

How He Got the Gig As the global vp of marketing on A-B InBev based in Rio, Chueiri tried to “elevate” the company’s core brands. The role, he said, provided “a deep understanding of the common challenges we face no matter where our consumer lives on the planet,” which aided him the next year, when he moved to the U.S. to become the head of consumer connections.

Pro Tip “Be curious. Be close to the people you are trying to build brands for. I try to always surround myself with people younger and better than me so I don’t lose sight of what is new, what is hot, what is happening in culture. I feel that is my responsibility as a marketer,” said Chueiri.

PHOTO: COURTESY ANHEUSER-BUSCH

VP OF CONSUMER CONNECTIONS

Chueiri’s work as vp of consumer connections— where he is charged with working on media, digital, sponsorships, events and promoting the beer category at large—impacts how all of A-B InBev’s brands use people’s passion points to make more meaningful connections with consumers.

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PORTRAIT

Women’s Marketing THIS BEAUTY/FASHION SHOP PARTNERED WITH CONSUMER ACTIVATION COMPANY SOCIAL MEDIA LINK TO CREATE A POWERFUL COMMUNITY OF FEMALE INFLUENCERS. BY KATIE RICHARDS Marketing and media services shop Women’s Marketing has been working with female-led brands in the beauty and fashion categories for 35 years, but you won’t find the 85-person team reminiscing about the old days of advertising. For client First Aid Beauty, the agency cut back on traditional media outlets and turned to colorful native programmatic ad units to drive traffic to the brand’s website, and 95 percent of users that clicked were new visitors. The team also relied on paid media to grow its Facebook fans by 82 percent and sponsored posts to add 3,500 new Instagram followers per month since January. Most recently, Women’s Marketing teamed up with consumer activation company Social Media Link to further its mission of turning indie and high-growth brands—including Urban Decay, Jane Iredale and Skechers—into industry leaders using technology and insights. Together, the two launched Glimmer, a community of female influencers built using Social Media Link technology. “When I think about what I need to best service my clients, as well as create an opportunity for us as an agency from a thought leadership standpoint, the ability to tap into and potentially engage almost one million women is phenomenal,” Women’s Marketing CEO Andrea Van Dam said.

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Specs

Who Women’s Marketing CEO Andrea Van Dam (l.) and evp, marketing and insights Marlea Clark What Digital marketing shop Where Westport, Conn.; New York

PHOTO: COURTESY OF GLIMMER

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