June 16-30, 2010 Rs 50
DEFINING MOMENTSKiran Khalap
QCNCorrect Projection 14
ECONOMISTDecoding the World 18
BLOOMBERGUTVPushing the Envelope 34
ZOOMNew Plan of Action 34
chlorophyll’s founderthinks back.
The man in the hot seat when STAR Plus wasgoing through troubled times, talks about itsrecovery and reinvention.
FIGHTINGBACK
28
PEPSICOEngagement MantraAugmented reality. Checkout this experiment.
12
PROFILEAmbika SharmaJagran Solutions’s COO isalways planning.
UDAY SHANKARCEO, STAR India
24
32
FIGHTINGBACK
5afaqs! Reporter, June 16-30, 2010
Volume 1, Issue 12This fortnight...
CONTENTS
Uday Shankar must have had a torrid time these last couple of years. To head acompany under pressure is obviously stressful for the boss. And when that company’s
biggest brand has been toppled from the top; and when this humiliation is reported gleefullyin the media on a week by week basis, the pressure must have been something elsealtogether. Because like it or not, the general health of STAR India is judged by the ratings
of STAR Plus, its Hindi General Entertainment Channel (GEC).
When Shankar joined as COO three years ago, he did not have thecredentials to run a large entertainment-oriented TV network. He’d made hismark primarily as a TV journalist and had some experience in running a newsnetwork. The skeptics were many.
Shankar took over a network that, after a long period of growth, seemed tohave run out of luck. One CEO, Peter Mukerjea, was sidelined and another,Sameer Nair, decided that he’d had enough. Both left within two months ofeach other in 2007. This led to an exodus of people, across departments.
An incoming boss would have his hands full dealing with this alone. Butthat was not it. STAR Plus’ rise coincided with the popularity of its K serialscreated by Balaji Telefilms. By the time Shankar joined, that mass engine wasrunning out of steam – the ratings were declining. The entire TV environmentwas changing. Fragmentation was rife. The box was heading into small-townsIndia. To complete his cup of sorrows, Viacom 18 launched its channel, Colors,in mid-2008 and it overtook STAR Plus in its very first year. For the odd
week since then, STAR Plus has even had to live with the ingnominy of being the No 3GEC.
STAR Plus is back on top for the last many weeks though the war is far from over. afaqs!Reporter used this lull to talk to Shankar. Rarely will you get to read such a forthright interviewwith a CEO who talks about his days under pressure.
June 16-30, 2010 Rs 50
DEFINING MOMENTSKiran Khalap
QCNCorrect Projection 14
ECONOMISTDecoding the World 18
BLOOMBERGUTVPushing the Envelope 34
ZOOMNew Plan of Action 34
chlorophyll’s founderthinks back.
The man in the hot seat when STAR Plus wasgoing through troubled times, talks about itsrecovery and reinvention.
FIGHTINGBACK
28
PEPSICOEngagement MantraAugmented reality. Checkout this experiment.
12
PROFILEAmbika SharmaJagran Solutions’s COO isalways planning.
UDAY SHANKARCEO, STAR India
24
32
FIGHTINGBACK
EDITORIAL
EDITOR Sreekant Khandekar
PUBLISHER Prasanna Singh
CREATIVE CONSULTANTSPealiDezine
LAYOUTVinay Dominic
LOGISTICSRajesh Kanwal
ADVERTISING ENQUIRIESHansika Koli, (0120) 4077834 4077837 NoidaVarun Mohan, (022) 40429702-5 Mumbai
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Marketing OfficeB-3, First Floor, Sector-4, Noida-201301.
Tel: (0120) 4077800.
Mumbai501-502, Makani Center, 5th Floor,
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Printed, published, and owned by Prasanna Singh, Publisher,
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Cover Photograph Kaushik Chakravorty
30
BTLRoping Them InThe movie’s stars go out tomeet young men and women.
POINTS OF VIEWHDTV-EffectAs more players come in, willhigh-definition televisionbecome a rage in India?
14
42FEVICOLFrom the ArchivesHow a very old ad inspiredthis TVC.
22
VW POLOTesting it AnywayA consumerengagement eventwith a difference.
PLUS
CONTRACT
Calling for Ideas 12
TELEVISION
The Shift in Orissa 23
JAYPEE CEMENT
Bond-building Moves 36
BY INVITATION
Chetan Bhagat 43
BOOK EXCERPT
Braking News 44
CAMPAIGN TRAIL
Print, TV, Digital, OOH 46
16
INQConnecting the DotsThis brand is after the net-savvy generation’s heart.
Sreekant [email protected]
Nissan Motor India is finallyeyeing the Indian terrainseriously with the launch of
its first locally manufactured car - acompact hatchback - the NissanMicra, which is expected to hit themarket in mid July. Company execu-tives reveal that the Micra will befollowed by the launch of a sedan.
Bollywood star Ranbir Kapoorhas been roped in for a period ofthree years to endorse all Nissanproducts and services in India.
Kiminobu Tokuyama, managingdirector and chief executive officer,Nissan MotorIndia, says,“Nissan is a carcompany witha passion forcars. Ourbrand heritagestands for carsthat maximiselife and pro-vide the joy ofeveryday driving.Kapoor is a passionate,versatile and talentedfilm star and with hischarm and massappeal, we hope to bemajor player in Indiasoon.”
Abhijeet Pandit,vice-president, opera-tions, Hover Automotive India,admits that it is a long road ahead forNissan in India, going by the clutterin the B+ segment, Nissan’s lateentry into India and low brandawareness. “This is where our brandendorser will help build quick recallfrom day one,” Pandit says.
Globally, Nissan is strong in dif-ferent segments in various markets.In West Asia, its SUVs such as thePathfinder are hugely popular; theUS is more of a patron of its sedanssuch as Altima and Maxima; in itshome country, Japan, it is famous forits small cars including the Cube;
whereas in Europe, its SUVs suchas the Qashqai are popular. In
India, to begin with it hopes to cap-ture the B+ segment.
Globally, Nissan is known for itsdesign, spirit of innovation and per-formance, with its positioningstatement, ‘Shift - the way youmove’. This corporate positioningwill be maintained in India, whilethe brand campaign for Micra willsport the thought, ‘Drive simpler.
Recently, two 15-second com-mercials announcing thecommencement of bookings for theMicra were launched on TV chan-nels. The first ad, ‘Key’, shows
Kapoor talkingof how the keyto life is actual-ly ‘no key’ - asthe car doesn’trequire a key toget inside, butis operated by aremote likedevice. Thesecond com-
mercial has Kapoorsitting in the car, pro-claiming that lifebegins with a humantouch - as he presses abutton, instead of anignition key, to startthe car.
While these are cap-sule ads, the main
launch commercial for Micra will beaired in July. The agency on Nissanis TBWA/India.
Apart from TV, Nissan plans toemploy press, outdoor, online, radio,direct marketing and corporate pro-grammes. Yearly ad spends,according to informed sources, arepegged at Rs 25-30 crore across allNissan launches.
Micra targets consumers whoenjoy the experience of driving -who savour the journey, more thanthe destination. Unlike Toyota(which appeals to the rational mind-set), Micra hopes to capture thoseconsumers for whom a car is a styleor status statement.
‘‘A scooter is a vehicle whichhas a utility in a certain typeof market... a motorcycle isversatile which is why youhave such huge volumes inmotorcycles...’’
PAWAN MUNJAL, MD AND CEO, HERO HONDA MOTORS, ON HOW TWO-WHEELER MARKET WORKS, IN
BUSINESSWORLD.
NISSAN MOTOR
QUOTE OF THE FORTNIGHT
Sponsored byNEWSBULLETIN
This year, thechampionshippromises prizesworth Rs 1.5crore.
Cinepolis and Vivacity>Cinepolis, a film exhibitorrecently announced its strategic tie-up with ShethDevelopers, a real estate company, for their upcoming megaretail space - Vivacity. Operating out of Thane, Mumbai theretail space will have a megaplex with 14 screens, making itthe largest cinema complex in the country. The fully digitalstate-of-the-art cinema facility will showcase over 70 showsin a single day offering patrons the flexibility of airing multi-ple titles through the day.
ZoomIn> Nirmal Lifestyle, a real estate company hasentered into a licensing agreement with DiscoveryEnterprises International - a division of DiscoveryCommunications. The tie-up between the two companieswill manifest itself in the form of ‘green’ offices, residentialspaces and clubs providing lifestyle, entertainment and edu-cation.
Café Coffee Day> India’s largest integrated coffeeconglomerate has announced the acquisition of a CzechRepublic café chain - Café Emporio. The deal is valued atRs 15 crore. The acquisition is indicative of Café CoffeeDay’s intention to increase its international presence, espe-cially in the central and eastern European regions. CaféEmporio, soon to be co-branded as Café Coffee Day-Emporio has 11 cafés in Czech Republic.
Yishion> Chinese apparelretailer Yishion has formed a51:49 joint venture with a local distribution firm to launchits line of clothing in India, targeting a presence in morethan 100 outlets in two years. The new venture will launchits range of menswear and women’s clothing initially andexpand portfolio to include kidswear, footwear and acces-sories by next year.
Gillette Mach3 IGC> Riding highon the championship’s success lastyear, the Gillette Mach3 India GamingChampionship (IGC) in associationwith Zapak is back this year in a bigger avatar. The increas-ing popularity of the internet in the last few years has led toa paradigm shift from offline to online gaming. This year, theGillette Mach3 IGC championship has on offer prizes worthRs 1.5 crore.
BSNL 3G> To create awareness at mass level about its3G services and to strengthen its brand presence, the opera-tor has branded Rajdhani trains in association with IndianRailways and Peacock Media. While the medium reachesabout 85,000 people through the external vinyl wrap, internalmedia (including brochures, audio jingles and other activa-tions) are consumed by 1500 passengers daily. Routes beingcovered by the train are Delhi-Chennai and Delhi-Bengaluru.
The apparelbrand will firstlaunch itsmenswear rangeand follow it upwith women’sclothing.
Slated to open in2013, the projectwould be the firstAndaz propertyin India.
6 afaqs! Reporter, June 16-30, 2010
A New Statement
Hyatt> Global hospitality majorHyatt has announced plans to set upthree new properties, including onein India, under its ‘Andaz’ brand of hotels. Slated to open in2013, the project would be the first Andaz property plannedin India. Targeted at the international leisure and businesstraveller, Andaz debuted three years ago and has 11 proper-ties under development in six countries.
MARK
ETIN
G
Micra targetsconsumers whoenjoy the experi-ence of drivingand savour the
journey.
Both STAR Plus and Colorsappear to be busy with newlaunches. STAR Plus’ Tere
Liye is a love story drama producedby Balaji Telefilms, and marks theproduction house’s comeback onSTAR Plus.
“The first time this creativeunion happened, it became historic;a new STAR was born. For the last10 years, everything that has beendone on television was influenced byus. We hope a new paradigm ofentertainment will be created thistime too,” said UdayShankar, CEO, STARIndia, referring to thechannel’s runawaysuccess, Kyunki Saas BhiKabhi Bahu Thiproduced by BalajiTelefilms.
Tere Liye is based inKolkata and traces thelove saga of Anurag andTaani. The show hasreplaced Sabki Laadli Bebo, whichhas been moved to the 6:30 pm slot.
It competes with Uttaran onColors and 12/24 Karol Bagh on Zee.
Music is being used as amarketing tool for promoting TereLiye. STAR Plus has released a songunder the Times Music banner, sungby Kailash Kher, which is beingplayed on all radio stations. As theshow progresses, the channel plansto have more music releases.
STAR Network is also believedto be working on a new
corporate identity. Althoughcurrently under wraps, a new logoand packaging for the network is onthe cards.
Meanwhile, on Colors, a newfiction show, Thoda Hai Thode KiZarurat Hai debuted on June 7. Itreplaced Swarg, which currentlyoccupied the 7:30 pm slot.
Colors will also launch a realitygame show, Kitchen Champion, inmid-June. The show will featurecharacters from daily soaps on thechannel competing to win the title of
‘Kitchen Champion’.Among other non-
fiction offerings, Colorshas its platter full withnew seasons of India’sGot Talent, which willbe launched in August,followed by Khatron KeKhiladi and the nextseason of reality showBigg Boss, which isslated for the end of the
year.In the general entertainment
space, it has been an interestingbattle for the No.1 rank, as Colorsruled the roost continuously forseveral weeks only to be replaced bySTAR Plus, which has beencommanding the highest share inthe general entertainment genre forthe last few weeks. As per the latestweekly report from TAM, STARPlus and Colors have garneredshares of 24 per cent and 20 per cent,respectively.
‘‘They say the more global webecome, the more local webecome as well. This is one ofthe single biggest reasons, whythe future of newspapers isstrong.’’
RAVI KIRAN, CEO, SOUTH ASIA, AND EMERGING MARKET LEADER, SPECIALIST SOLUTIONS, STARCOMMEDIAVEST GROUP, ON THE FUTURE OF PRINT, IN AFAQS!
STAR PLUS-COLORS
QUOTE OF THE FORTNIGHT
TSA> Total Sports Asia KK (TSA) has entered into aninternational distribution agreement with a leading Japanesesports channel Gaora that will see TSA expand its portfolio ofJapanese fight sports. As per the agreement, TSA willdistribute hundreds of hours of Japanese fight contentincluding All Japan Pro Wrestling, Dragon Gate ProfessionalWrestling, OZ Academy Professional Women’s Wrestling,Kick Boxing Krush and Kudo All Japan Federation Karate. TSAhas struck a deal with a Taiwan broadcaster Sportscast todistribute 30 hours of the programme, Kick Boxing Krush.
Next Gen Publishing> The publisher of nine specialinterest magazines - FHM (For Him Magazine), Mother &Baby, Car India, Commercial Vehicle, Bike India, ComputerActive, Smart Photography, Ideal Home and Garden andPowerWatch - has launched the digital editions for all thesetitles. Next Gen Publishing has tied up with the US-baseddigital publishing solution provider, Zinio.com, which willdigitise its print editions. The digital editions will be offeredfor consumption on the internet and Apple iPad.
CN and Pogo> TurnerInternational India, the broadcasterof kids’ channels, Cartoon Network (CN) and Pogo, haslaunched new programmes to entertain kids during thesummer holidays. The network rolled out a show titled KumbKaran and two movies - Krish Trish and Baltiboy 1 and 2.Kumb Karan is a home-grown Indian animation, and hasbeen conceptualised and produced by Turner and mounted byCornerstone.
Sponsored byNEWSBULLETIN
This summer, kidscan enjoy newshows KumbKaran, Krish Trishand Balti Boy 1and 2 on CN andPogo.
UF Media> The South India-based company UF Media,has forayed into television with a lifestyle and music channel,UFX. It will be launched as a multi-lingual channel that willcater to Tamil, Malayalam, Kannada and Telugu audiences.UFX’s target audience is in the age group of 15-35 years,belonging to SEC A. While English will be the medium ofcommunication, music and content will be in the foursouthern languages, as well as in Hindi.
Red FM> India’s largest network by location, Red FM hasincreased its ad rates by 12-15 per cent recently. Thecompany took the decision following the re-branding of SFMas Red FM. The radio station has termed this move as adrationalisation. The current ad rates are in the range of Rs11,000 and Rs 11,500 per 10 seconds, for the 50 stations.The company had last increased the rates over a year-and-a-half ago.
As per a dealbetween TSAand Sportscast,TSA willdistribute 30hours of theshow, KickBoxing Crush.
8 afaqs! Reporter, June 16-30, 2010
Radio Mango> How many beers are downed in your cityeveryday? How many autos use the meter? How manystreetlights are not working? Radio Mango's Non - Census2010, a witty take on our Indian census, attempts toshowcase the answers to questions like these. The FMstation is asking the listeners to send in such irreverently'relevant' questions via SMS. A census will be conducted byRadio Mango to find out the answers to these questions.
UTV Bindass> The youth centric channel, UTV Bindass isall set to maximise its gains from advertiser fundedprogramming (AFP). It has set up a dedicated team toconceptualise and mount AFP shows exclusively. The channelhead claims, that last year, AFP accounted for 8-10 per centof the channel’s total revenue. In 2010, Bindass is looking atincreasing this figure to 20 per cent.
STAR Plusbets on
love story onprimetime,
Colors banks on
non-fiction
Love is in the Air
MEDI
A
UFX is a lifestyleand music channellaunched by SouthIndia-basedcompany UFMedia.
The radio stationhas come up witha witty take onthe Indian census.
Colors’ team of India’s Got Talent Khoj 2
> Hakuhodo Percept is no longer a part of theMaruti Suzuki roster. Till now, the agency handledfour brands - Wagon R, A Star, Grand Vitara andMaruti 800. These brands will now be handled by the other three agencies in theroster - Dentsu India, Lowe Lintas and Capital Advertising. The automobile companyhas about 13 brands under its umbrella, which were till now looked after by fouragencies. However, in an effort to consolidate its functioning, it has done away withthe fourth agency.
The Consumer ComplaintsCouncil (CCC) of theAdvertising Standards
Council of India (ASCI) has uphelda complaint against Kimberly-ClarkLever’s Huggies Dry Comfortcommercial by barring it from beingaired.
The commercial claimed that 88per cent parents chose Huggies DryComfort diapers. ASCI found thatthe claim was based on an internalsurvey, which did not cover asubstantial sample size.
Stating that claims by brandscannot be based on independent andself generated data, the CCC saysthat the claim made inthe commercial is false,misleading and attemptsto confer an artificialadvantage upon theproduct by citing anon-independentsource, which is neitherreliable nor authentic inrespect of rating orgrading of diapers inIndia.
Kimberly-ClarkLever has withdrawnthe ad, which wascreated by creativeagency Ogilvy India.
The body observesthat althoughinvolvement ofconsumers is on the rise, thesummer months have seen a declineof misleading advertisements.
A total of 120 complaints werereceived. After narrowing it down toten, only one complaint - againstHuggies - was upheld, with nineother advertisers either justifyingclaims that were made or wereproved to be within definedparameters and hence were allowedto continue with their respectivecampaigns.
Some of the other brands whosecomplaints were not upheld areSugar Free Natura - Diet Sugar,
Pampers Active Baby Diapers,
Gillette India, T.I.M.E., Godrej HairDye, Sensodyne Toothpaste, CastrolLubricants, Listerine Mouthwash,Reliance Big TV and Set Wet Zatakdeodorants.
Before this, in February, the CCCupheld complaints against sixadvertisements from brands such asDabur Chyawan Junior, Maruti SX4,Shanti Badam Amla Hair Oil, TataAIG Insurance, IMS CAT ApproachProgram and Mahindra Flyte PowerScooter.
However, this time, the ASCI didnot uphold consumer complaintsagainst ads such as Garnier Fructisshampoo, Coca-Cola, Fastrack,
Lodha Aqua, DigitalRadio, Axe Boost and JKWhite Cement. In allthese cases, thecomplaints were eitherfound to be baseless,some claims weresubstantiated or werewithin the limits ofdecency.
In the case of JKCement, the CCCobserved that whilst inthe TVC the bikini cladwoman coming out of
the ocean was irrelevant to theproduct, it was not found to beindecent.
For the record, ASCI is a selfregulatory voluntary organisation ofthe advertising industry.
The role and functioning of theASCI and its CCC include dealingwith complaints received fromconsumers and industry, againstadvertisements which areconsidered false, misleading,indecent, illegal, leading to unsafepractices or unfair to competition,and consequently in contraventionof the ASCI Code for SelfRegulation in Advertising.
1 0 afaqs! Reporter, June 16-30, 2 0 1 0
‘‘Even before the first teamstake to the ground, it’s clearthat the biggest investors aremost strongly associated withthe event in consumers’ minds.’’PIYUSH MATHUR, PRESIDENT, INDIA, THE NIELSEN COMPANY ON THE
BUSINESS OF BRANDS DURING FIFA WORLD CUP 2010.
QUOTE OF THE FORTNIGHT
Sponsored byNEWSBULLETINASCI
In Action
>>ACCOUNT MOVEMENT
AAAI-Cannes Young Lions Creative Competition>Pradeep Ravindran, art director and Shruti Sadani,copywriter, Mudra Bengaluru have reasons to celebrate asthe duo has been adjudged the winners of the AAAI-CannesYoung Lions Creative Competition 2010. To encourageyoung creative talent, the AAAI organises the competition(supported by the Times Group) every year as a nationalinitiative providing an opportunity for internationalexposure. The competition received a total of 200 entriesfor the theme ‘Don’t buy animal tested products’.
ADVE
RTIS
ING
Haier India> The brand has signed on John Abraham asits ambassador for two years. Abraham will represent theentire product portfolio of the brand, including LCD TVs,washing machines, refrigerators and small kitchenappliances. To reach the consumer, the brand has launcheda TVC for its LED TVs, which will go on air very soon. Thead spends are pegged at Rs 36 crore for this fiscal. ArmsCrestra handles the creative duties for the brand.
Clio Awards> The award show has announced thewinners for the 2010 Interactive and Innovative Awards,held at Skylight Soho in New York City. Taproot India’s‘Colours of India’ campaign for Transasia Paper has won agold in the Print campaign category. The agency was alsoshortlisted in the Billboard category. The other shortlistedIndian agencies were O&M Delhi in the Design DirectMarketing category, O&M Mumbai in the Media categoryand Leo Burnett in the Print category.Following
ASCI’sdecision,
Kimberly-ClarkLever has
withdrawn theHuggies adwhich wascreated by
Ogilvy India.
> Lowe Lintas Mumbai has clinched the creative duties forCanara Robeco Mutual Fund (the joint venture between CanaraBank and Robeco of the Netherlands). The development followsa multi agency creative pitch in which eight agencies took part,out of which three, including Lowe, were shortlisted for the
final round. The incumbent agency on the account was Chennai based SaltCreatives. The size of the business is pegged at Rs 8-10 crore.
> Real-estate company, Era Landmarks, a part of the EraGroup, has appointed Percept’s AMO Communications as itscreative partner. The agency won the account in a multi-agency pitch. Six agencies pitched for the account and thecompany shortlisted and held active discussions with three of them. The brief givento the agencies was to create a campaign for Era’s upcoming project in Bengaluru.However, the account will be handled out of New Delhi. The account size is peggedat Rs 10-15 crore.
> Percept/H has been roped in to handle the creativeduties for Aadhaar’s pilot phase following a multi agencypitch. Aadhaar is an initiative by the Unique Identification
Authority of India (UIDAI) to provide unique identity numbers to Indian residents -a project headed by Nandan Nilekani, until recently co-chairperson of the board ofdirectors of Infosys Technologies.
1 2 afaqs! Reporter, June 16-30, 2 0 1 0
Andhra Pradesh(AP) is witness to a new formof advertising these days, as PepsiCo triesout ‘augmented reality (AR) advertising’ or
‘ARvertising’ for its 7Up brand.Augmented reality involves the addition of vir-
tual elements to the real environment. Virtualelements could include computer-generatedimages, video clips or textual information pulledfrom the internet; while the real environmentincludes elements such as a printed picture, object,or a building or landscape. To retrieve additional or‘virtual’ material, the user would need an informa-tion ‘reader’ — such as a web camera connected toan internet-enabled computer or the camera of aGPRS-enabled mobile phone — which can iden-tify the real object, and then pull out ‘virtual’information contextually related to the real object.
For instance, an advertiser could embed a spe-cial code in its logo or a picture printed in ads orpackaged material. Thus, whenever users pointtheir mobile-phone or web camera to thelogo/picture, they could get some additional infor-mation from the internet, such as images, videoclips or discount offer details, on their mobile orcomputer screen.
In the case of 7Up, PepsiCo has initiated a two-month campaign, ‘You Click, Allu Arjun Dance’.The Tollywood actor is famous for his dancingskills and is also 7Up’s brand ambassador in theSouth.
For this campaign, PepsiCo has created videosof Allu Arjun performing seven different dancestyles, which are hosted on the website,www.7Up.in. A small-size code, ‘black and whitepicture or graphic image’, has also been developed,which the company will print on 600ml 7Up PETbottles distributed in AP. This coded image is thevirtual key or enabler for users to access the dancevideos.
Speaking to afaqs! Reporter Carlton D’Silva,creative director, Hungama Digital, the agency
which is managing this digital campaign, explains,“First, the online user will be required to open the7Up website and click a link - available on thesite’s homepage - titled ‘Now everyone can makeAllu Arjun dance’. This will prompt him to con-nect his computer with a web camera, select thedance-style video and then point the camera to thecoded image printed on the PET bottle. Once the‘black and white image’ gets decoded through thecamera, which acts like a reader, the video will startplaying.”
These videos can also be accessed on operatingsystem (OS) based mobile phones, which areinternet enabled. For this, users will be firstrequired to download a special software or applica-tion on their mobile phones. Then, a user canopen the application, select the camera mode andpoint the camera to image on the PET bottle, inorder to play the videos.
Alpana Titus, executive vice-president,flavours, PepsiCo India says, “The objectivebehind this campaign is to create buzz and positiveword-of-mouth about 7Up among the youth inAndhra Pradesh. We have opted for AP, because itis an important market. About 25 per cent of thecountry’s lemon-based drinks sales come fromhere.”
“We have figured out that dancing and Arjunare popular among the youth in AP. Thus, we havezeroed in on dancing and the Tollywood star forthe campaign. Augmented reality has been optedfor as we want to carry out a disruptive initiative,which will create interest, and thus, engage userswith the brand,” she adds.
Titus indicates that the company will considerunique visitors on the 7Up website, time spent byusers and the level of engagement, to judge theeffectiveness of the ARvertising campaign. Basedon the success of the campaign in AP, it may beextended to other states, too. �
New Engagement Mantra In a first, PepsiCo experiments with augmented reality to engage the youth. By Kapil Ohri
7UP
To understand and experience AugmentedReality (AR), follow the two steps below toopen this story on your GPRS-enabled mobilephone.
1. Download an application or QR code Readervia Beetagg.com/downloadreader/.
2. Open the application on phone and take asnapshot, which in turn will open the web link.
Innovative ideas need not be thedomain of a creative team alone,and Contract Advertising seems
to understand that well. In the sec-ond edition of an internal initiativetitled 'Let's Make A Difference', theagency called for ideas from its entireworkforce across India.
The first edition of the pro-gramme, last year, invitedmedia-neutral ideas to provide novel,
cost-effective solutions, at a timewhen marketers kept their budgetstight in a recession-stricken year.This time, however, the focus was ondigital.
The initiative was born out of adesire to add value to brands withnon-traditional, economical ideas.
Taking it to the next level, the agencyattempted to explore what it sees as avery potent medium for brands toexploit.
"The idea came when we walkedinto the slowdown. We wanted to seehow we could come up with power-ful ideas with small money. Thistime, however, we feel the time isright to escalate with digital. Withincreased mobile penetration and theinternet, you cannot possibly comeup with integrated communication ifyou ignore digital," says RaviDeshpande, chairman and chief cre-ative officer, Contract Advertising.
"While everybody is talking digi-tal, we wanted to walk the talk and
Calling for IdeasThe agency explores the possibilities in innovativecommunication. By Biprorshee Das
continued on page 18 >>(From left) Deshpande, Nair, Bhatia, Shrikhande
CONTRACT ADVERTISING
EXPERIENCE AR
NEWSDIGITAL
1 4 afaqs! Reporter, June 16-30, 2 0 1 0
Fevicol revisits its first-ever televi-sion commercial (in 1992), Thetug-of-war for the launch of its
new variant, Fevicol Marine.In the new TVC, one hears the icon-
ic Dum lagake, zor lagake haisha line oncemore as the idea of musclemen and anelephant try to pull apart blocks of woodjoined by Fevicol is revisited.
The new commercial, created byOgilvy India, has been shot in Alleppey,Kerala. This time, it is the state’s popular event -the snake boat race - that has been used to showthe tug-of-war. The TVC shows two snake boatstied to a chair underwater, with 50 boatmen tryingto pull it in opposite directions, attempting tobreak the Fevicol ka jod.
The chant, Dum lagake, zor lagake haisha contin-ues, along with Kerala boatmen enjoying folkmelodies. Eventually, as the boatmen give up, thefilm ends with the presenter, who acts like a touristreferee, saying that the bond is now impossible tobreak, even when the plywood is wet.
The new product claims that bonded plywoodwould remain intact, even if it is kept in water for48 hours or in boiling water for up to an hour.
The film has been directed by Indrajit Nattojiof Blink Pictures. The creative team at Ogilvy con-sisted of Abhijit Avasthi, national creative director,Amitabh Agnihotri, creative director and SamirSojwal, associate creative director.
Talking to afaqs! Reporter, Rajiv Rao, nation-
al creative director, Ogilvy India, says, “We wantedto remind everyone what Fevicol is and hence,turned to one of the most memorable Fevicol adsto introduce the variant. It is like a sequel to theold ad. Through the tug-of-war idea, the strengthof the product comes out even better.”
The shoot was no mean task, reveals Nattoji.The underwater chair was shot in a swimmingpool in Mumbai, and had to be matched to the one
used in the Kerala backwaters. The chairwas fixed on to the river bed, so that theboats wouldn’t drift away with the boat-men rowing vigorously. The camera wassuspended in the middle of the backwa-ters on a Jimmy Jib crane, mounted on aplatform supported by four other boats.
“It is a simple demonstration film,visualised larger than life, in a bizarrelow-tech, high-scale experiment inKerala style,” says Nattoji. The TVC will
be supported by outdoor and BTL campaigns.
BONDING FINE
Adlanders agree that the message of the productcomes across in a simple and sound manner;
and the dramatic demonstration of the productbenefit is appreciated.
“The ad conveys the news of ‘marine’ well - aFevicol product that also works in water. The cre-ative thought of dramatising the use of the productin water is sound; as is the core brand promise,”says Shivanand Mohanty, national creative direc-tor, Dentsu Communications.
Josy Paul, chairman and chief creative officer,BBDO India agrees, saying that the film makes thedesired point about the water-resistant feature andbenefit well.
Mohanty, however, adds that the executionleaves a little to be desired, and falls short whencompared to the earlier films. �
The digital advertising divisionof Real Image, Qube CinemaNetwork (QCN), had
recently commissioned The NielsenCompany to conduct a study inTamil Nadu on the impact of in-cin-ema advertising.The Real Image isthe technology developer andenabler for the entertainment industry.
Marketing consultancy AqumenaMarketing Services helped conceptu-alise the study to derive a currency tomeasure the reach and frequency ofspecific cinema advertising sched-ules.
The research was conducted on adoor to door basis, where 2,774respondents were selected from theelectoral roll list in the state. Theresearch was conducted amongst the
active consuming class in TamilNadu, in the age group of 15-44years, belonging to SEC ABC house-holds and living in Class I towns. Anarray of questions was put forth tothe respondents in their homes.
Some of the key findings showedthat more than one fourth of thisuniverse visited cinemas once amonth or more often. Nearly two
thirds visited cinema hall at leastonce in the previous one year.Another finding showed that cine-ma’s reach is higher in SEC A than inSEC B and C. This upmarket skew isdespite the fact that more than 95 percent of the screens in Tamil Nadu arenot in multiplexes.
A QCN related finding alsorevealed that more than 75 per cent
of the universe had visited at leastone QCN theatre in the last one year.
“Over the last 10-15 years, cinemahas slipped off media planners’ radarscreens and now accounts for lessthan 0.5 per cent of India’s ad spend.One reason for this is that there hasnot been a scientific measure of thevalue of the medium in a media plan.This research plugs this gap,” saysArvind Ranganathan, chief executiveofficer, Real Image.
The main objective of theresearch was to create a currency forcinema media planning and buyingsimilar to currencies that exist forprint and TV.
The study focuses on consumersand their cinema going habits in
NEWSADVERTISING
The Correct Projection The agency creates a currency for cinema media planning and buying. By Surina Sayal
continued on page 16 >>
FEVICOL
From the ArchivesThe brand turns to an old and memorable ad from the past to introduce its water-resistant variant. By Biprorshee Das
Indrajit Nattoji and Rajiv Rao: revisiting history
“The best results inadvertising are achieved
by using multiplemedia in tandem.”ARVIND RANGANATHAN
CEO, REAL IMAGE
QCN
1 6 afaqs! Reporter, June 16-30, 2 0 1 0
INQ Mobile, the wholly owned subsidiary ofHutchison Whampoa, makes its communica-tion debut in India, targeting the young
rebellious ‘Facebook Generation’.The campaign aims to convey the attitude and
personality of the INQ brand and the generationwhich has always grown up with the internet intheir lives.
The creative starts with a female model gettingready for a photo shoot, while continuously chat-ting with her friends in between on her Facebookand Twitter accounts. As she takes her time to getready, her fellow male models wait for her and fid-dle with their individual INQ phones.
Meanwhile, one of them dozes off for a whileand the other one clicks his picture and puts it onFacebook. Thus, during the entire episode, theprotagonists keep talking to each other and to theworld, without even speaking a word, thanks totheir INQ mobiles.
Designed and conceptualised jointly by INQand Euro RSCG, this campaign is based on thecreative idea of ‘Inquilab’, which is actually a cock-tail of social revolution and fashion. ‘Inquilab’ byINQ is about the always-on power of being intouch.
The ads are based on the insight that today’sgeneration has quietly created a peaceful revolu-tion - it’s not political but social. Relationships, forthis generation, are rather different from how theprevious one viewed them. Today, it’s possible tobe a very close, involved friend with someonewithout ever having met him or her physically.
The campaign positions 3G-enabled INQphones as a facilitator of today’s virtual, socially-networked relationships. The ad is all about youthand their social revolution.
The objective of the campaign is to sharplydefine a space in a category which has seen multi-
ple launches recently.Talking more on the posi-tioning of INQ, SatbirSingh, chief creative offi-cer, Euro RSCG, says, “Itis not about a phone. It isabout this generation’sway of life - which is whywe stayed away from cre-ating a phone-y campaign.Instead, we have posi-
tioned it in the space of fashion and lifestyle.”He adds, “No one till date has looked at the
mobile phones along the vectors of fashion andsocial revolution. INQ talks a new, refreshing lan-guage of friendship, bonding and sharing.”
The ads have been conceptualised by SushantPanda, director, Euro RSCG and Satbir Singh,chief creative officer, Euro RSCG. The film hasbeen directed by Yusuf Khan and the photographyis by Bharat Sikka.
The multimedia campaign covers print, TV andradio across four metros and also spans a breadthof digital activities including online, search andsocial networking sites. The advertisements arebeing aired across all news and entertainmentchannels and are supplemented by outdoor media.
Jeff Taylor, marketing director and co-founder,
INQ, says, “The campaign is about the new gen-eration all over the world, which lives online 24x7.We shot the campaign in conjunction with some ofIndia’s most talented photographers, directors andmodels, and are thrilled with the results.”
For the record, INQ entered the Indian marketin March with its social networking phones, INQChat 3G and INQ Mini 3G.
THE THIRD TAKE
The ad fraternity doesn’t look very convincedwith the piece of communication. Some find
a lack of a strong creative idea, others feel that thecommercial leaves a lot to answer.
Vivek Dutta, national planning head,Hakuhodo Percept finds the commercial “ordinary- maybe because there is a complete absence of anyidea whatsoever!” He adds, “The consumer wouldlike to break away from the clichéd imagery shownin the commercial,” says Dutta.
He explains that although there are lots of shotsshowing how easy it is to be connected, the com-mercial leaves a lot to be answered. “Primarily,why INQ over others? Considering that CORBYhas already established itself on a similar proposi-tion, I fear that it would project INQ as a me-toobrand,” he adds. �
totality, irrespective of whether theygo to QCN or other theatres. In fact,it is possible to evaluate cinema plansfor all theatres and QCN theatresseparately - both options are availableto brand managers and media plan-ners.
Now - how exactly does this cur-rency work? The QCN currency isdesigned to measure the value deliv-ered by cinema in a given brand’smedia plan. The currency focuses ontwo dimensions: Reach - meaningthe number of relevant people whoare exposed to the spots in the mediaschedule, expressed in terms ofnumber of people in lakh and fre-
quency - meaning the number oftimes those reached have ‘opportuni-ties to see’ (OTS) the spots.
The media planner specifies (i)the target market for a brand in geo-graphical terms (ii) the demographicdefinition of the target group of indi-
viduals and (iii) the duration (inweeks) of the campaign.
The currency works by using thedata from the QCN research study,focusing on the recent cinema-goingbehaviour of the specified targetgroup.
The currency will help brandsthrough the addition of quality OTSin a media plan and through strategicuse of the media multiplier effect ofcinema and TV acting in tandem. Itwill also help estimate the value anadvertiser gets in a two-week or four-
week burst, and so on.“The best results in advertising
are achieved by using multiple mediain tandem. Thus far, press and TVplanning were done using scientificcurrencies, while cinema planningwas mainly a gut-feel affair. The
launch of the new currency takes thegut-feel out of cinema planning,”says Ranganathan.
The data from the research alsoshows that inclusion of cinema in amedia plan can deliver effectivereach, perhaps more cost-efficientlythan a broad based ‘TV only’ mediaplan. The data has, for the first time,provided the advertising industrywith a quantifiable currency usinghard numbers to evaluate cinemaplans and place the buying and sell-ing of ad time at par with that forpress and TV media.
While the currency has beenlaunched only in the TN market fornow, the company is looking forinvestors and sponsors to conductthe research in other states as well. �
NEWSADVERTISING
The TVC conveys the personality of the brand which is at par with today’s Net savvy generation. By Antara Ghosal
Satbir Singh
Correct Projection...<< continued from page 14
INQ
Connecting the Dots
The QCN currency is designed to measure the value delivered by cinema in
a given brand’s media plan.
1 8 afaqs! Reporter, June 16-30, 2 0 1 0
After its tryst with outdoor and print, TheEconomist in India made its debut on TVwith a new brand campaign.
Last year, the magazine did convert its print-outdoor campaign into TV spots by animatingthem and running them across news channels onan experimental basis. However, for the first time- the premium magazine brand in the hard newsspace - has come up with a television campaign.
The move comes at a time when the brandintends to extend the awareness beyond metros.While its earlier brand communication wasfocused on three cities - Bengaluru, Delhi andMumbai (with Pune included in the last brandcampaign) - the magazine, with a TV campaignwants to target a wider audience base now.
“We find that whenever we run an online cam-paign, the response comes from across the country.This indicates that there is a large market, which isstill untapped due to lack of awareness. Hence, thistime we have switched to a more mass medium -television. Given the potential for the magazinebeyond metros, TV comes as a marketing andstrategic call,” says Suprio Guha Thakurta, manag-ing director, The Economist Group, India.
The insight for the new campaign remains thesame as the earlier one, as does the positioning,‘Interpret the world’. As Guha Thakurta explains,understanding the real story, getting the connec-tions between events and how they create anunexpected impact, is the real joy of reading TheEconomist. He adds, “It’s called the butterflyeffect - any action anywhere in the world caninfluence phenomena elsewhere.”
INTERPRETING THE CREATIVE ANGLE
The campaign, conceptualised by Ogilvy India,has broken in the form of two commercials.
The first is based on the trend of Chinese workersmigrating to work in Chinese-owned factories in
India. The second is based on the impact of thecivil war in Africa on children.
The film shot in Africa shows two kids playingsoccer. It’s only when one of the kids strikes a goal,that one realises that the goalposts are guns. Themessage is that the civil war in Africa is robbingkids of their childhood. The second film showsChinese kids learning Hindi in school. As onewonders what the connection is, it is explainedthat China exports workers to its factories in India.
“The idea is that there is an invisible threadconnecting events in different parts of the world,which apparently appear unrelated. TheEconomist makes that thread visible,” says
Sumanto Chattopadhyay, executive creative direc-tor at Ogilvy India.
While talking about the choice of situations,Chattopadhyay says that the creative team becameavid readers of The Economist during the makingof the campaign. They reviewed several issues ofthe magazine, picked up stories that could havemass appeal, and converted them into scripts.
“The film based on Chinese kids is in black andwhite and the colour has been toned down in theAfrican film to give it a realistic and documentaryfeel,” shares Chattopadhyay.
Besides Chattopadhyay, the creative team atOgilvy India that worked on the campaign includecreative directors Sukesh Kumar Nayak andHeeral Desai Akhaury. The films have been direct-ed by Shashanka Chaturvedi and produced byVikram Kalra of Good Morning Films. John JacobPayapalli is the director of photography and themusic has been composed by Ashutosh Phatak.
The campaign is on-air on English movie chan-nels such as STAR Movies, HBO and Sony Pix;and infotainment channels such as Discovery,Animal Planet and National Geographic. Otherthan television, the commercials are also being
Guha Thakurta (left) and Chattopadhyay
NEWSTVCTHE ECONOMIST
With the aim of widening its reader base, the publication launched its first TV campaign in India. By Antara Ghosal
Decoding the World
continued on page 24 >>
come with differentiated ideas toengage the consumer. And it isrefreshing to see the team witheverybody wearing different hats,"adds Raj Nair, regional creativedirector, Mumbai and South,Contract Advertising.
Over 300 entries were receivedover the last three months. After tworounds of internal judging, 41 ofthese were shortlisted. The agency'sclients were then invited to judge theshortlisted entries.
Vinay Bhatia, customer care asso-ciate and vice-president, marketingand loyalty, Shopper's Stop; Subrata
Dutta, managing director,Samsonite; and Rajesh Iyer, head,marketing, personal financial servic-es, HSBC, judged the entries alongwith Deshpande.
Of the 41 entries, nine wereawarded earlier this month. Theawards included one Grand Prix, oneeach of gold, silver and bronze, andfive merits. Moreover, practical andworkable entries would also be con-sidered for usage by clients.
Umesh Shrikhande, chief execu-tive officer, Contract Advertising
sees the whole exercise generating awonderful feeling of partnershipbetween clients and the agency, andthinks it is a win-win situation forboth.
Clients, too, are no less enthused.Dutta is all for the initiative and sayshe was pleasantly surprised to see thenumber of "implementable andusable" ideas. "Exercises like theseallow us, as clients, to build a lotconfidence in our chosen creativepartner. An agency that spends somuch time and energy to generate
better ideas makes us have more faithin it," he adds.
The initiative has also proved tobe an eye-opener for the judges, asthey admit that clients know littleabout the digital medium and aremore comfortable with the tradition-al media mix. It gave an opportunityto explore further possibilities ininnovative communication.
Bhatia says that the session servedtwo objectives - knowing the limit-less possibilities of the medium, andrealising that brands need to bet bigon digital. "Marketers need to bebraver than before. With Shopper'sStop and its target audience, I mustbe nuts not to participate in digital,"he exclaims. �
Calling for....<< continued from page 12
Over 300 entries were received over thelast three months. After two rounds ofinternal judging, 41 were shortlisted.
> After spending 18 years at JWT, DhunjiWadia, senior vice-president and manag-ing partner, JWT Mumbai has moved on toexplore opportunities beyond JWT.However, he has not yet decided on hisnext destination. Wadia has spent around25 years in the advertising industry, havingworked on major national and internationalbrands such as Nike, Levi Strauss, Jockey,Unilever, Diamond Trading Co., Kellogg, Standard Chartered,Warner Lambert and Bosch.
> Karan Rawat has been appointedexecutive creative director, Grey India,Mumbai. In his new role, his copy partnerwill be Rohit Malkani and he will report toAmit Akali and Malvika Mehra, national cre-ative directors at the agency. He has beenin the advertising industry for about 13years and has worked on brands such asKiller Jeans, Times of India, Femina,
Ravissant, ICICI credit cards, Smirnoff, Coke, Fanta, InorbitMall, Mother’s Recipe, Filmfare and NECC.
Rawat started his career with McCann Erickson as a visu-aliser in 1997. Later, he joined JWT (then HTA) and stayed therefor four years. Subsequently, he joined Enterprise Nexus (BatesIndia) as creative director in 2006 and spent six years at theorganisation.
> The top management of Lowe Lintas has just been restruc-tured. Joseph George, executive director at Lowe, is takingon the larger role of deputy CEO. Tarun Chauhan, currentlyan executive director at the agency, hasbeen elevated to the post of president.Also, Anaheeta Goenka, who is currentlythe executive vice-president, has been ele-vated to the post of executive director.George, a Lintas veteran, will now be work-ing with Charles Cadell, CEO. He will belooking after the overall functioning of the
agency. While Tarun Chauhan will work with George and willhandle a broader portfolio of clients. Chauhan will also contin-ue heading Lintas Productions, the film production unit of LoweLintas.
> Surajit Roy, head of Contract Delhi, is on his way out andPrashant Mathur, senior vice-president, will take charge of theDelhi office. With over 24 years of experience, Roy has spentfive years at Contract, prior to which he was the vice-presidentand client services director at JWT. He started his career inadvertising with JWT in 1986 and worked at the agency for 19years, before moving out in 2005. His client list included ESPN,Cargill Purita and Timex among others.
>>MOVEMENTS/APPOINTMENTS<< A compilation of some major people movements in the last fortnight
ADVERTISING> Media sales company Publicitas hasroped in Robin Carruthers as manag-ing director to head its OOH (out of home)business. Earlier, Carruthers was chiefexecutive officer (CEO), Square CircleMedia Outdoors and has also served asCEO of out of home company Clear ChannelCommunications, where he joined in 2005as national head, sales. He has alsoworked with Grey Worldwide (formerly known as Trikaya Grey)and various other outdoor agencies such as Primesite, MOMS,OAP and RMG David.
> Gourav Tandon, the chief operatingofficer of Navia Asia has put in his papersat the organisation. Tandon has more than12 years of experience in the out of homemedia business and has worked in allaspects of OOH including printing, sig-nages, acquisition and sale of media,besides planning and buying. Sanjay Shah,chief executive officer will look afterTandon’s responsibilities in the interim period and until furtherannouncement. Earlier, he was national director, Navia Asia,and was in charge of business development since April 2009.
> The activation arm of Ogilvy India,OgilvyAction has appointed Vipul Salvias creative head of its urban experiential,shopper and trade marketing practices.Salvi will be based out of Mumbai and willdirectly report to Abhijit Avasthi and RajivRao, national creative directors, OgilvyIndia.In 1999, Salvi was a senior art directorwith Contract Advertising. After spending
five years at the agency, he moved to Impact BBDO, Dubai in2004. Later, he worked at Grey Worldwide and Lowe, both inDubai. In January 2009, he returned to Mumbai to join Law &Kenneth as creative director.
OOH
2 2 afaqs! Reporter, June 16-30, 2 0 1 0
> Sandeep Khosla, the erstwhile vice-president andhead, business publication division, Indian Express Group,has joined Infomedia18 as CEO - publishing, with immediateeffect. Khosla will be based out of Mumbai, and will reportto Sai Kumar Ganapathy Balasubramanian, non-executivedirector, Infomedia18. Prior to the new assignment, Khoslawas heading the business publications division, internation-al marketing and special events and projects group atIndian Express. He has been associated with the IndianExpress Group for the last 22 years.
MEDIA
> The chief marketing officer of VirginMobile, Prasad Narasimhan has putin his papers at the company. He is currently serving his notice period atthe copmany. Narasimhan plans to starthis own brand consultancy firm.Narasimhan has been with VirginMobile since 2007. Prior to this, he was with TVS Motorcompany for about three years where he was vice presi-dent-marketing.
MARKETING
NEWSBTL
The TVCs for the New Polo fromVolkswagen convey the superior features ofthe vehicle and suggest that the car needs
no test-driving. However, an on-ground activity topromote the car did just that - but it stayed clear ofthe regular test drives and burnt some rubberinstead.
The brand, with the help of brand solutionsdivision, Group M’s Dialect, conducted a uniqueconsumer engagement event, ‘The New PoloUltimate Test Drive’. Professional German racedriver, Ronny Wechselberger was invited to per-form custom-made stunts at the on-ground eventto showcase the features of the New Polo.
Consumers were invited to watch breathtakingstunts, and even become co-passengers while thestunts were performed. Wechselberger also inter-acted with them and provided tips and tricks ondriving and parking in crowded metros.
The test drive was conducted on May 27 atMumbai’s Inorbit Mall’s huge parking lot. Theobjective of the event was to showcase the featuresof the car, especially those which are being depict-ed through ATL, such as superior handling,ground clearance and safety.
Stunts performed byWechselberger includedslalom obstacle with 90-degree turns, 180-degreeturn forward and reverse,precision parking and 360-degrees reverse. All thiswas done using the origi-nal New Polo, without thevehicle being put throughany overhauling or rigging.
Soumik Sarkar, business director, Dialect,GroupM says, “The brief given to us was that the
company was bringing the German driver to Indiaand to their manufacturing facility in Chakan; andthey wanted to utilise him for leveraging sales.” Headds, “Rather than inviting everybody for such anevent, we decided to invite people who had testdriven the vehicle, but hadn’t made up their mindyet.”
The event was attended by three types of audi-ence - people who had test driven the car throughdealers; the mall crowd who had free walk-ins; anddealers and their families as well, to create a feelingof excitement amongst them. Besides announce-ments in the mall itself, 10 promoters walkedaround giving out leaflets and information on theevent, inviting interested mall goers to attend it.
The event and the stunts were conducted fourtimes during the day - at 11 am for the media; andthen at 3 pm, 6 pm and 8 pm. Sarkar informs thataround 500 invites were sent to dealers, of whichabout 340 attended the event. Another 800 peoplewalked into the event. At least 45 solid leads havebeen established through the first event inMumbai itself. The event will now be held inDelhi on June 20. �
The automobile manufacturer promoted its new car through a unique consumer engagement event. By Surina Sayal
Sarkar: test driving
VOLKSWAGEN POLO
Testing it Anyway
From a one-player market toeleven satellite channels -that’s some track record for
growth. And that’s exactly whatOrissa’s television market has wit-nessed in recent times.
For long, Orissa has been a print-dominated state. Advertisers had nooption but to look at the top threepublications in the market, as TValmost did not exist. Of the Rs 200crore spends on media in Orissa,print media still commands Rs 110-130 crore. Pre-2000, Doordarshan’sDD6 Oriya was the only channel,which was a GEC. After this, ETVOriya was launched in 2002.
In 2006, Ortel Communications’Orissa Television (OTV), a cablechannel earlier, debuted as a satellitechannel, offering viewers news andentertainment. In 2008, the compa-ny, with a view to separate newsfrom entertainment, launchedTarang, a GEC and OTV was re-
launched as a news channel.The next spurt was in 2009,
when five Oriya channels - NaxatraNews, Tarang Music, Kamyab TVOriya, Super Star Josh and KanakTV were launched, in the generalentertainment, news and musicgenres. At least three more channelsare expected this year.
Eastern Media, which housesOrissa’s widely read newspaper,Sambad, has launched Kanak TV, anews channel. “The television sce-nario here is definitely changing.Although we just started our full-fledged operations four months ago,we are getting encouraging responsefrom advertisers,” says Monica NairPatnaik, director, Eastern Media.
The share of Oriya GECs hasincreased from 7.1 per cent in 2008to 12.8 per cent in 2010, as per TAMMedia Research data (C&S, 4+,Orissa market). The overall GRPshave also gone up considerably with
top three channels today contribut-ing 700-800 GRPs.
“We have observed that the num-ber of viewers has gone up, and so
has the time spent. Earlier, there wasclearly a dearth of quality optionsfor the people of Orissa. Now, thereare enough channels to choosefrom,” says Sumit Kanungo, execu-tive vice-president, LMG.
Imran Karim, national buyinghead, TME says, “In most of theplans, even if it is a P2 (priority 2)market, regional language channelsfind a prominent place.”
Advertisers are opting for aregional focus, as it ensures reachand there is no spillover. “Lookingat a regional channel is favourable interms of cost per contact, whilethat’s not true with national chan-nels,” says Kanungo.
The revenues paint an encourag-ing picture as well. While the printrevenues went up by 17.5 per cent,advertising revenue on televisiongrew by more than 50 per cent overthe last year. Currently, the size ofthe Oriya television market ispegged at Rs 50-60 crore and ispoised to grow.
Ratikanta Satpathy, senior gener-al manager, marketing and sales,OTV, reiterates that the last year hasseen tremendous action in the mar-ket, with television managing tobreak the monopoly of print. �
OOH (out of home) agencyMilestone Brandcom, afterstrengthening its West and
North India operations, is nowbeefing up its operations in SouthIndia.
The agency has brought onboard Ganesh Prabhudev asregional head, South India andmember, executive committee andJ Prakash as business head, TamilNadu and Kerala.
Prabhudev, an OOH profes-
sional with about 15years of experience,moves in from theDPI Group and Media 24x7, twosister concerns with interests inOOH digital printing, media andsports marketing, where he spentfive years. Earlier, he spent close toa decade at Ogilvy Landscapes.
Commenting on his appoint-ment, Nabendu Bhattacharyya,founder and managing director,Milestone Brandcom, says,
“Prabhudev will play a key role inour management team.”
Prabhudev shares that theagency is looking to build a team offive-six people in the Bengaluruoffice in a year.
The agency has also roped inPrakash, who till recently served asgroup account manager, OgilvyLandscapes. At Milestone
Brandcom, he assumes the role ofbusiness head, Tamil Nadu andKerala. Prior to OOH, Prakashworked in PR and print and hasabout 12 years of experience in themedia industry, eight of whichwere spent in OOH.
Commenting on his appoint-ment, Prakash, says, “My mandateis to handle the Tamil Nadu andKerala markets, where I will bestrategising, buying and taking careof operations and the business.”
Bhattacharyya adds thatMilestone has radical plans on thecard to create disruption in themarket place. He is confident ofclosing the year with Rs 100 crorebilling, with 12 offices and a teamstrength of more than 60members. �
Over the last few years, the state witnessed a gradual shift in advertisers’interest from print to television. By Sapna Nair
The ShiftORISSA
The agency has made key appointments forSouthern markets. By Surina Sayal
2 3afaqs! Reporter, June 16-30, 2 0 1 0
NEWSREGIONAL
Aiming HighMILESTONE BRANDCOM
(From left): Prabhudev, Prakash andBhattacharyya: growth is the buzzword
A serial on Tarang TV (top) and aposter for Kanak TV
promoted in movie theatres, and onsocial media sites such as YouTube,Facebook, Metacafe and Ibibo.
LOOKING BACK IN TIME
The Economist launched its firstIndia-specific campaign in early
2008. The campaign used the posi-tioning statement, ‘Interpret theWorld’, which was communicatedthrough a series of alphabet basedcreatives. The reader was given aunique interpretation of regular
terms revolving around the newsrealities across the globe. This wasfollowed up by the Script campaignin May 2009, in which headlineswere written in what seemed at firstglance to be a foreign script, but inreality the script was English.
INTERPRETING THE COM-MUNICATION
The ads have generated mixedresponse from the industry.
Rahul Jauhari, national creative
director, Pickle Advertising likes theads but feels that they are a little lessengaging than some of the outdoorwork done earlier, where one had todecode the visuals. He says, “Thefilms are well shot, nicely done. Butto people like us who know theinternational Economist work, onetends to miss the famous wit.”
Titus Upputuru, executive cre-ative director, Saatchi & Saatchi feelsthat the brand has huge legacy to liveup to. With each creative, India is
getting there. “The current commu-nication seems to be in a differentspace. Perhaps they are globallyevolving the brand,” says Upputuru.
Sandhya Srinivasan, managingpartner & chief strategy officer, Law& Kenneth states, “I quite like thequizzing in their print approach andwhile it may have been easy for most,it got one involved. TV, however, hasto tell a story, rather complete it. Inthe spirit of ‘Interpret the world’, Ifound the China story fresh and verypresent. The Africa story has beenseen before, and didn’t surprise meat all.” �
Aschool teacher who became a copywriter, brandconsultant, travel writer, author and founded acommunications company, Kiran Khalap
shares a few defining moments in his career.Most Indians opt for sanyasa ashram at the end
of their career. I did so in the beginning. I expe-rienced a sense of freedom when I was 18because of J Krishnamurti, the philosopher and Idecided to work for his cause of education.
Three decades ago, I was a teacher and ahousemaster for four years in an experimentalschool in Varanasi. I learnt from my students, fel-low teachers and the greatest minds of the 20thcentury who held discussions with Krishnamurtithen - Buddhist scholars, Western physicists,Hindu pandits, writers, artists and music com-posers.
During the first phase of my working life Ilearnt not to push the river, as the phrase goes: toflow with events, to discount success, to under-stand that ambition brought frustration. I alsolearnt to define my identity not through what Idid but through how I evolved in my humanness.
The second phase of my working life com-prises my career in advertising. The four definingmoments there relate to four strikingly differentpeople.
Cossy Rosario: In 1983, Rosario was a whimsi-cal, but eternally positive copy analyst in Lintasand I was a trainee copywriter. In just my thirdmonth there, he opened my eyes to the complexscience of advertising. My left brain feasted on cognitive-affective-behavioural models, high-leverage attributes, andtools to generate over 50 propositions inside one
hour. It was a dramatic change from the sharp-as-a-balloon fuzziness that I was subjected to tillthen.
Alyque Padamsee: Besides being a high-profileCEO, the hyperactive Alyquewas the only creativedirector who hadtrained in film mak-ing in London. Hetaught me script-crafting first byhand holding me(1984-86) and later(1989), by sendingme to Lintas Sydneyfor training. It taughtme production disci-plines that were far aheadof the times.
Usha Bhandarkar: Ever so cool and laidback, shetaught me to teach creative disciplines to manage-ment graduates and stand up to clients despite mybeing a relatively junior writer in Lintas. In trust-ing me she taught me to trust others.
Ram Ray: He was the true Renaissance Man,from Kolkata. Ray urged me to take over as CEOof Clarion despite my inexperience in manage-ment. In doing so, he reaffirmed his owngenerosity of spirit and made me the only chief
creative officer and chief executive officer everin that agency. If at all there is a wound on myheart, it is related to the last role. I never real-ly fulfilled the expectations of my colleaguesas CEO of Clarion.
Since 1999, chlorophyll has been the thirdphase of my work life. It’s a brand I have attempt-
ed to create in a self-referential mode.chlorophyll was made possible by a man
called Madan Bahal, who like therest of the giants in my life,
trusted me unquestion-ingly. Today, my newrole as consultant tothe NandanNilekani-led UniqueIdentity Authority ofIndia is a new chal-lenge, a new level of
learning.Where does that
leave me vis-a-vis thefuture? There is abeautiful quote byTeilhard de Chardin, the
French philosopher andpriest, who was also a
paleontologist and geolo-gist: “To create is to unite.”That’s what I will be pursu-
ing - uniting people and ideasand sections of my identity
within myself. �As told to Surina Sayal
NEWSPEOPLE
“I also learnt to definemy identity not through what I did but throughhow I evolved in my
humanness.”
“I have lived my life in reverse”
KIRAN KHALAPCo-founder & MD, chlorophyll Brand &
Communications Consultancy
D E F I N I N G M O M E N T S
2 4 afaqs! Reporter, June 16-30, 2 0 1 0
Decoding the World<< continued from page 18
The insight for the new campaignremains the same - Interpret the World.
Uday Shankar’s appointment as ChiefOperating Officer, STAR India in 2007surprised many in the industry. A veteranprint and television journalist, who studied
economic history at Delhi’s Jawaharlal Nehru University,he had shifted to the business side only in 2004. He wasrather an unconventional candidate to head the country’slargest entertainment company. Within a few months,however, he was named the CEO.
Shankar has had the opportunity of launching manybrands such as Aaj Tak, Headlines Today, Sahara’stelevision venture and STAR News. In his career, he hasplayed the role of both a defender as well as a challenger.Probably this was the quality which helped him navigateSTAR Plus through choppy seas, when the country’sNo 1 channel had slipped to the No 3 position (week 15,2009) for the first time in nine years.
Now, with STAR Plus nosing its way to the top -though Colors and Zee are not too far behind - Shankarseems to have lowered all the raised eyebrows. In this chatwith afaqs!Reporter, the man reveals that he has nointention of slowing down or taking it easy. Excerpts:
Q: How did the transition from news to GECstrike you when you took over?A: The huge scale of operations in entertainmentvis-à-vis news was surprising but what shocked memore was how unprepared the entertainmentgenre was. I say this because till about 2-3 yearsago, the entertainment industry was running withthe mindset of ten years ago.
The industry is measured on revenue it garnerswhich is valid to a certain extent but thisadvertising revenue is further dependent onseveral other external factors such as theadvertising currency, the size of the advertisinguniverse which is also related to the size of theeconomy and disposable income. And the industrywasn’t prepared to address these factors.
Secondly, I was aware of the impact news has onpeople’s lives, but I was surprised to find theintensity of the impact that general entertainmenthas on the lives of people and the similarities thatexisted in both genres.
Q: News channels are expected to show a cer-tain restraint. Does this apply to a GEC?A: Responsible behaviour is often confused ashomogenous, non-creative behaviour but itdoesn’t mean being staid and non-innovative.Creativity is about experimentation. But if it isused for short-term cheap tactical gains and has nolarger social explanations then it needs to bechecked. Self-regulation is better than any officialand unofficial cultural policing.
News reaches out to a few members of thefamily, while entertainment reaches out to a muchlarger number and its impact is much greater. Butwe should be subjected to a fairer review. Creativegrowth will not happen without experimentation.
Q: Since March, STAR Plus regained its No 1status. When you look back, what went wrongand what was the kind of pressure you faced?A: STAR Plus is like a precocious child who hasbeen topping since nursery school. After that, if hetops the board exams, it is not an exceptionalevent. Instead, if he comes second in one test itbecomes a big deal.
Yes, STAR Plus was under attack and we wereall under pressure. But this pressure wasn’t fromour top bosses, instead it was from within thecompany. When a company is used to excelling inwhatever it does, people become uncomfortablewhen something goes wrong. The advantage I hadwas that I have played both the defender and thechallenger in my news stint. Defender, when newchannels came up and challenger, when I joined
STAR News. Experience has taught me that thesebattles are not lost nor won in a day. These are longhaul battles where patience and focus matter.
Q: STAR Plus did well for years, but didn’texperiment. Was that a reason for its decline?A: Yes, that was one of the key reasons. When youare so successful you don’t feel the need toexperiment or change. Media is a 24-hourtreadmill which requires daily delivery. It’s likebeing on a Formula 1 track, there’s no time to stepback and evaluate. STAR Plus was successful andeverybody - including itself - started following itsown model. Ideally, STAR should have changedthe model, but didn’t because it was working.
Q: During the stormy days, what helpedSTAR keep the battle going?A: I saw a discomfort in the team because STARPlus had ceased being the leader. That was a bigmotivator. STAR hadn’t come to terms with it sowe fought back. Anguish was the biggest driver.
But there were a series of other successes - Jalsa,Pravah, the English leadership and STAR Den. So,there was never this feeling that nothing isworking for us. Everything else was encouragingand we thought ‘if only we could fix STAR Plus’.
Q: But there must have been some pressurefrom advertisers who, more often than not,tend to hate what they call ‘the leader’s arro-gance’. How did you handle the situation?A: That’s the biggest mistake one can make - beconsciously arrogant when at the top and beconsciously supplicant when on a decline. I amcognisant of that. The talks were tough, butadvertisers had faith in STAR and none walkedaway. Besides, this challenge was limited to theHindi GEC leadership not other genres.
28 afaqs! Reporter, June 16-30, 2 0 1 0
“I did notpretend tohave all the
answers”Uday Shankar was the man in the hot seat whenSTAR was going through troubled times. In this
freewheeling interview, he talks about the recoveryand the reinvention of STAR. By Prajjal Saha
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Q: You have moved ahead and taken poleposition, but the gap between STAR Plus,Colors and Zee is still quite narrow… A: I think the dogfight will continue for a while.There’s no reason to believe that STAR has all theanswers and others do not have any. However,with a robust, consistent plan, we will come out ontop.
Q: Balaji and STAR Plus were almost synony-mous once. What went wrong?A: I don’t think anything went wrong. Theenvironment had shifted in terms of content andthe relationship had to be re-set to suit theenvironment. Balaji did a brilliant job of buildingSTAR Plus’ leadership. What Balaji needed - themargins, high cost investments - at that time couldnot have been provided by any other channel.Similarly, what STAR Plus needed couldn’t havebeen done by anyone apart from Balaji.
Then multiple opportunities arose in themarket and because of fragmentation in the Hindiand regional space, STAR Plus’ market share wasunder pressure. An exclusive relationship becameunaffordable because it came with a premium.Both Balaji and STAR got the opportunity to havenew partners which was contractually not allowed,leading to frustration. So we needed to take a freshview of the relationship. It worked and now we areback doing a new show.
Q: What made Colors so successful?A: Colors followed the basic discipline ofprogramming and launch, came up with new ideasand stories. Colors’ success is even moreremarkable because a few channels launched priorto it were not so successful. In this business,success or failure is evident in the first few weeksof the launch itself and Colors managed it.
Q: What was more threatening? Zee’s come-back or Colors’ launch?A: This is like asking which enemy is better. WhenI came in, Zee was resurgent. I have enormousrespect for it. The fact is that it stayed for manyyears as No 2 in the shadow of a giant and yet grew.I have to take Zee more seriously because wecompete in many other sectors. But with Network18, the competition is only in Hindi GEC. So Zeeis a far more formidable player.
Q: What has the industry learnt from the fail-ure of 9X and Real? A: This is an industry which is focussed on notlearning from others’ mistakes. It enjoys learningfrom its own mistakes. That’s sad. On one side,there is 9X and on the other, Colors. One can seethe difference in strategy and discipline.
Q: In this industry, quantitative research getsfar more weightage than qualitative. How hasit affected the business?A: Hugely. TAM does a useful job. It helps createthe currency for commercial negotiations betweenadvertisers and broadcasters. However, merelylooking at quantitative research does not give youany insight to qualitative data. This industrydoesn’t do even a fraction of the qualitativeresearch that it should. That is, why whensomething is successful, people blindly copy thatidea without examining the core behind thatsuccess. The clones also affect the viewership ofthe originals.
Q: Even STAR did not invest monies in qual-itative research…A: STAR has started doing a lot of it. I am from anon-entertainment background. Our COO,Sanjay Gupta, is from FMCG and telecom. Manyof us came from varied backgrounds. We hadquestions which were not answered byquantitative data. We revamped our research team.The insights - our understanding of the viewer,marketing strategy, content, communication andpackaging - led to the reinvention of STAR Plus.
Q: When you joined, did you decide to disuptand change or carry on the same way?A: I like trying new things but I am not a violentdisruption guy. Violent disruption is usually lessproductive than calibrated disruption. I had a fairamount of exposure to STAR and knew that a fewthings needed to be changed. But I wasn’t going towalk in with a sledge hammer. I can be accused ofgoing slow on a few things but I’m satisfied.
Q: Did you face any resistance in STAR whenyou – an ‘outsider’ - took charge?A: There were two key people who had been withthe company for long - Peter Mukerjea andSameer Nair. They had shaped the company andthe team in a big way.
I came from a very unconventional backgroundand a much smaller company. Though my bossesgave me an appointment, I knew I had to earn mylicence from the team. It took me some time to dothat. Moreover, unlike in many other cases, I didnot bring my own team with me when I came in.
Also I did not pretend that I was ready to runthis company or that I had all the answers. I stillremember my first meeting with the seniormanagement team when I told them that I do notunderstand anything about entertainmentprogramming, but that I understand consumerbehaviour as both news and entertainment arebeamed on the same TV, in the same household
through the same cable. That instantly made myteam comfortable.
Q: What was the brief given to you?A: To retain STAR’s place of eminence in Indianbroadcasting. My understanding was clear - thatHindi will always be big but STAR has reachedthat stage of evolution where it can’t limit itsgrowth to Hindi. It had to metamorphose into anetwork. Today it is the No 1 network inviewership, advertising and subscription.
Q: Has the dependence on STAR Plusdecreased over the years? A: Of course! Today, the non-STAR Plus channelsdeliver 50 per cent of revenue and profits.Regional and English contribute hugely to that.
Q: STAR Jalsa and STAR Pravah have beenfairly successful. What are the learnings fromthese markets?A: It’s about understanding your viewer,experimenting, being conscious of the fact that thesociety is changing rapidly and that you cannot gowith a set of fixed set of notions. Emotionaltriggers are universal and creative people need torecognise those triggers. We pick up format showsfrom around the world and they work in India.But we are uncomfortable about picking up anidea from one state and try it in another languagewithin the country. But we have picked popularconcepts from Bengal and tried it out inMaharashtra.
Q: STAR One, lately, has become a copy ofSTAR Plus. It had a distinct positioning...A: It was a sound strategy but we lost confidencein it too soon. That, perhaps, was a mistake. Butwe are experimenting. There have been showswhich have worked well, but we need more. Weare okay with a lean second channel since you can’thave two high cost propositions in the same space.We will re-build STAR One without increasingthe cost just as we did with Channel V.
Q: There has been talk about STAR’s interestin print. Anything moving on that front?A: Globally, News Corp is one of the fewcompanies that continues to believe in print. Asthe literacy and disposable incomes grow andaffluence trickles down to smaller towns, print,especially vernacular, will continue to grow.
Management and editorial are our strengthsand we should be able to contribute to that. Ifthere is a compelling partnership opportunity I’llpresent it to my bosses and they will consider it.
Q: Where will STAR’s growth come from?A: Localisation and regionalisation have justbegun. The biggest challenge is that the deliveryplatform is not geared. Cable is just not there.Distributing niche content in an analogenvironment is impossible because cable doesn’thave the bandwidth. Running niche content onlyon advertising revenue is not viable. DTH’sbandwidth is also getting clogged. If we solve thedistribution problem, we can unlock investment incontent in a big way.
As GDP grows, the volume of advertisingrevenue to will rise. That is what will support themass delivery channels.
2 9afaqs! Reporter, June 16-30, 2 0 1 0
I have enormousrespect for Zee and
have to take it more seriously than Network
18 because we competein many other sectors.
COVERSTORY
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continued on page 30 >>
For niche channels and localofferings, advertising can only be asmaller segment, most of therevenue has to come fromsubscription.
Q: You are now reporting direct-ly to James Murdoch. Why has
the reporting structure in theorganisation changed?A: The reporting structure changewas the fall-out of a larger re-calibration exercise. STAR Indiaused to report to Asia, but over thelast 10 years its growth has beenmore dynamic compared to the rest-of-Asia business. And it was felt thatSTAR India had reached a level ofmaturity both in terms of size ofbusiness and management ability and
that it should be treatedindependently and invite the directfocus of the promoters.
Q: Was a new logo and look nec-essary?A: Qualitative analysis over eightmonths showed that we needed anew positioning. It amounted to acomplete re-invention of contentand positioning, but how do wecommunicate that? That’s when we
decided to change the look. It ismore like a tool to convey the largerchange.
In the Indian context, red is is thecolour of life, festivities, family,marriage, positivity and energy. Wetested it and red emerged as the mostcompelling colour that people couldrelate to. Besides, the fact is that redlooks great on broadcast. �
[email protected] reporting by Sapna Nair
NEWSBTL
Prakash Jha’s much awaited movie, Raajneetireleased in theatres on June 4. The launchof the film was preceeded by a month-long,
youth-centric campaign.A Prakash Jha production, the movie has been
co-produced by UTV Motion Pictures andWalkwater Media. The film is a political saga cap-turing the power tussle within a political family.The movie boasts of big Bollywood names, suchas Naseerudin Shah, Nana Patekar, Ajay Devgan,Manoj Bajpai, Ranbir Kapoor and Katrina Kaif.
For the last month, this cast took on the role ofpeople’s representative and was busy striking theright chord with the youth of the country, in a bidto create curiosity about the movie.
As part of the marketing campaign, Jha and thecast of Raajneeti visited colleges and universitiesin Delhi, Chandigarh, Bengaluru and Lucknow,discussing politics with the audience. Duringtheir interaction with students, they raised issuessuch as whether voting should be compulsory inthe country; whether a year’s military trainingshould be mandatory for every citizen; andwhether film stars should join politics.
Talking about the theme of the campaign,Shikha Kapur, vice-president, marketing, UTVMotion Pictures, says, “We did not promoteRaajneeti as a traditional film at all. We promotedthe movie as an event, and that too, the biggest
event of the year. The common thread runningthrough the on-ground, print, radio and TV pro-motions was the distinct focus on youth.”
Kapur points out that the insight governing the
campaign was why shouldyouth be seen alienatedfrom politics. There aremany who idolise youngpoliticians such as RahulGandhi. The communica-tion governing thecampaign highlighted thefact that today, youngstersare an evolved lot. Politicsis relevant to them, so whylet the subject be dry and
restrict its appeal to one set of people alone?In order to strike the right tone with the youth
and create a political atmosphere before thelaunch of the movie, the producers organised ral-lies in various cities, where each rally attracted acrowd of about 500-1,000 people. Interestingly,these rallies were turned into a televised propertyby STAR News. For a month, 30-minute episodescovering these rallies were aired on the newschannel.
As part of branding, individual cut-outs of themovie’s characters, along with signages, were usedextensively, to create an impression of a real-lifeelection campaign in progress. Also, co-brandedcontent and contests were carried in Hindi publi-cation, Dainik Bhaskar. �
Roping Them InAs part of a marketing campaign just before the release of the film, the cast of the movie visited colleges anduniversities to discuss politics. By Sangeeta Tanwar
Kapur: connectingwith the youth
RAAJNEETI
“I did not pretend...<< continued from page 29
It would seem to be an unusualbusiness for a woman to be in,but Ambika Sharma, COO of
Jagran Solutions, is in love withactivation. And this love goes back14 years.
Hailing from an army back-ground, Sharma grew up away fromthe cities till, by the end of herschooling, she came to Delhi. “Iwas clueless about my calling butlike many youngsters wanted to dosomething different,” she recalls.
In 1996, as she awaited theresults of her Class XII exams, shemade a friend who was then work-ing with Kidstuff Promotions(today, it is the activation division ofMudra Max). After listening tomany interesting stories on howbrands were talking to students inschools and colleges, Sharma decid-ed to try it out.
She got on board as a member ofthe operations team (providinglogistics support), working on pro-motional activities for brands suchas Cadbury, P&G and Discovery at asalary of Rs 300 a day.
It was here that she realised thatactivation was the thing for her. Shecontinued to be a part-timerthroughout her graduation years atJesus and Mary College, DelhiUniversity.
During the final year of hergraduation in 1998, Sharma joinedKidstuff as a promotion executive.With the basics in place, Sharmanow worked towards understand-ing the intricacies of the business byunderstanding return on invest-ments, comprehending differentsets of TGs and zeroing in on whatclicks with people on-ground. Eachday started with a school contactprogramme followed by another ina college by noon. Evenings werespent in either handling a roadshow or activation in an RWA.
This was followed by a brief stintwith Candid Marketing where shehoned her skills in servicing andoperations. She then moved to
Encompass (in 2002) whose activa-tion business was not very strongthen. “I was the only one there witha background in activation. ButEncompass was willing to experi-ment with newer ideas and I had agreat time,” she reminisces.
In 2005, she joined JagranSolutions, the newly launched acti-vation arm of Jagran Prakashan asregional manager - North. “My goalwas to make Jagran Solutions the
best activation agency. I continue tostrive towards this. Being the best isa constant struggle,” she says.
Within a month, Sharma wasable to figure out a plan of actionwith a team of five people, all spe-cialising in operations. As theagency had just started, there werehardly any credentials to boast of asshe made her first presentation toTVS Scooty.
“All we mentioned was that the
agency was backed by a stronggroup. Fortunately, we won ourfirst account worth Rs 2.5 crorewhere we reached the brand’s TGacross Uttar Pradesh and newUttarakhand,” adds Sharma. Withina year of its launch, the agency hadlined up work for brands likeMicrosoft, Cadbury, Lux andLifebuoy.
The major challenge in the ini-tial days was not to beovershadowed by Dainik Jagran andnot to treat activation as just an add-on to print. “It took me some timeto realise the advantages of workingwith a group that is equipped toprovide multimedia solutions to itsclients. Initially, we tried not toforce fit our offerings,” sheexplains. Sharma remembersanother memorable event when theagency bagged the Indian launch ofWindows Vista. They pulled it offagainst the backdrop of the TajMahal, something that no otherbrand has done till now.
Planning is the most importantaspect of activation and Sharmaspends close to two hours everydaysupervising her team. “The effec-tiveness of an on-ground activitycan be measured then and there.Sometimes, the best of ideas do notwork with the TG,” she declares.
Discussing the various changesin the industry over the years,Sharma observes how, today, everybrand wants to explore the might ofactivation. Fifteen years ago, brandsthat experimented with BTL werecontent with whatever little theyachieved. Today, matrices are inplace to gauge the effectiveness ofan activity. Consumer profiling, too,has evolved in a big way.
A workaholic, Sharma’s hobby isbiking. In fact, this proud owner ofa Honda CBR 1000 is the onlyfemale member of GODS (Groupof Delhi, Superbikers), a registeredclub of bikers in Delhi. Unusual?Well, that’s Ambika for you. �
By Rohit Nautiyal
PROFILE
AMBIKA SHARMA I COO I JAGRAN SOLUTIONS
“We do not force-fit our offerings”
The business news channel, BlombergUTVis gearing up for changes on the program-ming front. It is looking to shift its focus
from stock market followers to a wider audience.To communicate its new programming strategy
and address various stakeholders, including view-ers, traders and advertisers, the channel haslaunched an advertising campaign titled ‘Blunt andSharp’. The campaign has been put together by thebusiness channel’s creative agency, TapRoot India.
Sharing details about the programming changeson the cards and the campaign, MK Anand, chiefexecutive officer, UTV Global Broadcasting, says,“Early this year, we conducted a survey in Delhi,Kolkata and Ahmedabad, covering SEC A, B 25+audience. Our findings revealed that only 9 percent of business channel viewers had invested inthe stock market. This survey established the needfor us to shift our focus to generating content forthe rest of the 91 per cent audience, which doesnot have their own portfolio.”
In the next four months, the channel will
steadily increase content related to consumerfinance, insurance, mutual funds and industrynews. The focus will shift towards people who arenot experts in stocks, but individuals who areinterested in business news.
Commenting on the advertising campaign,Agnello Dias, co-founder and chief creative offi-cer, TapRoot India, says, “Our thought was veryclear - to highlight the category and consumertruths within the existing business news environ-ment. And then to bring out the brand idea ofBloombergUTV being the only ‘blunt and sharp’offering in the space.”
He adds, “In the new avatar presented by thiscommunication, the brand stands out as intelli-gent, not clever, bold yet understated.”
The campaign is skewed towards metros, andprints ads are being carried out in leading nationaldailies. Also, BloombergUTV has used the newterminal, which has recently come up at MumbaiAirport, for branding. �
Pushing the Envelope
Zoom, after its launch in 2004,was unable to make a clearmark in the market. From
being a glamour lifestyle channelcatering to the crème de la crèmeaudience, it now offers Bollywoodentertainment to the masses.
Thinking back, Bala Iyengar, busi-ness head, Zoom says, “We found outthat while the lives of Page 3 celebri-ties are interesting - it is notperpetually so. The connotation ofglamour in India has always been a
derivative of Bollywood. We justshifted the lens from Page 3 toBollywood, retaining the glamour.”
So, while in 2006, Zoom wasweighed along with channels such asAXN, Zee Cafe and STAR World, itis now slotted with channels such asMTV, 9XM, Bindass and Channel V.
In the last few years, the channelhas changed its positioning to reflectits heavy Bollywood offering. From‘Zoom into Bollywood’ in 2007, itnow promises ‘100 per cent
Bollywood’, with a view to be syn-onymous with Bollywood.
The channel began the year byhiking its ad rates. Zoom had to offerheavy price discounts to advertisersowing to the slowdown last year. In2010, Iyenger says the price has beencorrected. “We recorded a 10 per centgrowth in revenues last year and thisyear, with the market looking up andwith the price correction, we hope toincrease revenues by 50 per cent,” headds.
Following IPL 3, Zoom launchedeight new shows.
Zoom hopes to get younger view-ers onto the countdown shows andthe 25-34-year-olds who like watch-ing biographies of Bollywoodpersonalities. The channel plans tolaunch new seasons of its showsevery quarter.
Soon it will foray into fiction aswell with a series on crime andBollywood, being produced byMilestone Productions. “We hopeviewers otherwise not interested inZoom will tune in, thus broadeningour audience base,” Iyengar says.
The channel will also extend thebrand into franchises such as apparelsand is already in talks with a fewbrands. Besides, it also plans tolaunch interactive events to bringBollywood closer to viewers.
Advertiser funded programmesare also high on Zoom’s agenda.Almost 15 per cent of advertisingrevenues come from these.Syndication is another source of rev-enue that the channel is looking ataggressively. Currently, that compris-es 5 per cent of its total revenue. �
ZOOM
The channel hopes to strengthen its position with itsBollywood offering. By Sapna Nair
The New Plan of Action
The channel has launched an ad campaign to communicate its new programming strategy. By Sangeeta Tanwar
NEWSMEDIABLOOMBERGUTV
(Left) Anand and Dias: a new look
To create noise about its latest packaging inno-vation across Punjab, Jaypee Cement, a partof the Rs 10,000 crore infrastructural indus-
trial conglomerate Jaypee Group, has launched aphased on ground campaign -using BTL (below-the-line) marketing on a big scalefor the first time since the brand’s inception in 1986.
The brand has introduced a laminated cementbag in Punjab, replacing the one made of highdensity polyethylene (HDP). Cement bags areoften handled in a rough manner and get damagedand some of the cement is lost. The new bag intro-duced by Jaypee is also waterproof and has beenlaunched at this time keeping in mind the muchawaited arrival of the monsoon.
Punjab is renowned for its history of revolu-tions and the same thought was explored by SoiLive Marketing & Events for the on-ground cam-paign. To begin with, the teaser campaign aimed tocatch the attention of end users of cement. Theweek long activity involved life size torches fabri-cated on floats, with an accompanying message:‘Punjab mein kranti, cement industry mein pehlibaar’. Every day, after 7:30 pm, the life size torchwas lighted and promoters carried real torches ormashaals in both hands. Besides, close to 5 lakhhand bills shaped like mashaals were distributedacross the length and breadth of the state.
For the reveal campaign, the torch on the floatwas replaced with a life size replica of the newcement bag. To penetrate semi urban areas in thestate, the same display was executed on TataSumos.
Promoters visited retailers (including paint,hardware and cement shops) and informed themabout the new pack and its advantages over otherbags. Also, a bat signed by brand ambassadorSachin Tendulkar was given away as a memento.
So far, through the activity, Soi Live Marketing& Events claims to have touched base with 10,000retailers. Soon, the campaign will enter its thirdphase, where print and radio will be used to createbuzz.
Typically, a cement brand has two sets of TGs(target groups) - clients in the institutional spaceincluding builders and construction companies
and the second set comprising individual housebuilders and petty contractors. As a matter of fact,the second category of clients contribute 75 percent to the sales of any cement brand and that iswhy a majority of ad spends are directed to con-nect with them. The first set of TG is moreinterested in the price point.
As compared to other parts of the countrywhere markets are crowded with cement players,Punjab has only a few big players such as ACC,UltraTech and Ambuja. Therefore, the need tocome up with a unique communication strategywas evident and this is where the brand decided toexplore the potential of on ground.
Shiva Dixit, executive vice-president, JaypeeCement, stated, “Mass media is expensive andwhen you are dealing in a category like cement,there is hardly any scope for experimentation.While our earlier on ground initiatives were tradi-tional activities such as retailer and dealer meets,we plan to use BTL aggressively in the future.”
The brand has spent 15 per cent of its marketingbudget on BTL activities for this campaign.
Hemant Shah, chief mentor, Soi LiveMarketing & Events shared how, unlike massmedia platforms, with BTL, measurability isinstantaneous. “Before executing a plan, we workon actual figures on touch points and reach so thatthe client is assured that the results will be closerto the estimates,” he added.
With an annual production capacity of onemillion tonnes, Jaypee Cement’s first facility cameup in Madhya Pradesh in 1986.
As the brand entered other markets in thecountry beginning with Uttar Pradesh in 2003, theproductioncapacity touched the mark of seven million tonnesand today, it is more than 22 million tonnes.Currently, Jaypee Cement is available in 20 statespan India, including Jammu and Kashmir,Himachal Pradesh, Bihar, Gujarat, West Bengal. �
JAYPEE CEMENT
Bond-building MovesNEWSBTL
Punjab has a history of revolutions and the same thoughtwas explored for the cement brand’s campaign.
In a bid to connect with its TG across Punjab, the brand goes on-ground for the first time. By Rohit Nautiyal
Igot a whiff of this way back incollege. Commenting jealouslyon the short girlfriend of a guyeveryone loved in class, a friend
exclaimed the futility of beinginvolved with a 4 ft 9 inch woman.Another guy quipped, “Dynamitecomes in small packages!”
So true, more so today. Lookaround at life and you’ll witness theoverarching concept of ‘short andsweet’ (S&S). Many things come inmini packages and also leave a bigimpact - the pint-size 32GB pendrive, iPod Nano or Victorinox. Theother more popular and contagiousdimension of mini is the ‘power ofsmall with no compromises’, akaSMS, T20, Twitter and what not.
What amazes me though is theapparent simplicity, and the lack ofany loss of experience. When Orangesaid, ‘SMS, the new language’, littledid one know that it was the flavourof things to come.
So, what’s the joy in the minia-turised T20? Or the excitement of140 words that appear at rapid fre-quency on Twitter? Did thethree-hour escape experience at the-atres get truncated, when Bollywoodmovies got crisper at two hours? Notat all.
Can brand communication learn athing or two from this? Will it meanwe need to keep the drama out? Besuccinct and to the point? Will it stillbe as exciting and create long lastinginteractions? Will it become a one-night stand? Will it be a transaction,
as opposed to a relationship? Quitethe contrary. Let’s look at some mag-nets that make S&S work.
DWMO (DON’T WEAR MEOUT)Does a three-month hi-budgetblitzkrieg in media work or an annu-al presence with continuousengagement? I think it’s simply aboutsmall and heady doses in every inter-action. Cecile DeMillesque megaadvertising, propped by expensivecommercials, should be used spar-ingly.
Let’s look at music. How manypeople download songs and howmany buy albums? Product brandssuch as iTunes and Hungama.comtry to beat piracy and stay profitableby being consumer friendly. Theyprovide a choice of inexpensive,small (music) bites.
Last year, Lucky Ali introducedhis new album, Iksoi by releasing oneromantic ballad, Dil Gayee Jaa as apaid download. Some more songsfollowed in installments. While itwas finally released at retail stores,this innovative approach was engag-ing.
When advertising brands, can wecreate more of these small indul-gences? Here, the fun could be inimaginatively refreshing the brand inshorter and continuous doses.
WTT (WHAT’S THE TWIST?)Every small interaction too musthave potent appeal. For example, T20
is the new adrenalin in cricket, beat-ing the five-day test match and eventhe gripping one-day international.What added the twist to T20 was anew brand called IPL. The samecricket match got played betweencompeting state teams, comprising amix of the world’s best players. Asurprising format, as one couldn’tguess who was going to win.
With brands, what could addexcitement is creating new codes andpresenting them as a series of dra-mas.
NTC (NO TEN COMMAND-MENTS)It’s a new concept, hence, it doesn’tprescribe rules about the vehicle tobe used. For example, for years,movie trailers used dramatic clips onTV to build interest. However, mostfilms today use multiple media tocreate many teasers about their forth-coming film, sometimes evenstoking interactivity.
The Disney movie, A ChristmasCarol was promoted using Amtraktrain cars, which started at LosAngeles and travelled to 40 US cities.The interior showcased film footage,behind-the-scenes material and ademonstration of technology. Postthis, a 15-minute clip of the film wasshown at a 3D theatre. Enough to getkids excited?
Another Disney movie, SummerNightastic used augmented reality tobuild desire. Here, after installingsoftware and opening a website,
when a printout of the movie posterwas shown before a webcam, theimage on the poster was broughtalive in 3D.
An overwhelming but short expe-rience, it started a conversation asopposed to a monologue.
Thus, what could let a brand ideabreathe is to shock and awe any-where with stories that tickle manysenses.
SBG (SNAP, BLINK, GONE)Time waits for none, and shorterattention spans abound. For example,the retail space, with streaming gon-dolas and competitive clutter, can’tkeep one riveted for more than twominutes. So it’s a great breedingground to practice S&S in brandbuilding.
Imagine this - in select modernformats, a coffee brand uses olfactorystimuli to stop shoppers. Chances areit would initiate trial. So a sure-shotsuccess magnet could be preparingbrands for the ultimate inflectionpoint, that is, where buying decisionsare taken in an instant.
The world surely is becoming asmaller place. One could start withdesign, packaging and dialogue at theconcept stage, consumer collaboratedideas that start conversations. Let thebrand create a series of ‘short andsweet’ addictive experiences thatmake customers long for more. �
SANDHYA SRINIVASAN
Keeping It S&S
(The author is managing partner & chiefstrategy officer, Law & Kenneth.)
Some of India’s well-known professionals write on issues that they feel passionately aboutBYINVITATION
4 2 afaqs! Reporter, June 16-30, 2 0 1 0
POINTSOFVIEW
Can HD TV Take Off
in a Big Way in India?Recently, Dish TV joined Sun and Reliance Big TV as the third high definition TV service provider in the country. Is this
a sign that HD TV will become the new rage? By Sangeeta Tanwar
GIVEN THAT INDIAN CON-SUMERS RAPIDLY ADOPT NEWTECHNOLOGY, BE IT LCD TVS ORLED TVS, I WOULD SAY HD TV ISHERE TO STAY.
The HD phenomenon in India is no
different from what we see happening in
other advanced markets like the US or
Europe. As consumers go in for larger
displays, they show a preference for bet-
ter resolution screens, flatter displays and
greater interactivity.
As consumers look at downloading
applications and accessing the internet
from their television sets, the preference
for HD TVs is bound to increase. This
goes beyond just the benefits of better,
more real picture quality. Greater afford-
ability is another factor driving the trend
towards HD TVs since the differential
between HD TVs and non-HD TVs has
decreased considerably.
The growing popularity of gaming
consoles, full HD DVD and Blu-ray
players is contributing to the popularity
of HD TVs. The contribution of HD flat
panel TVs is 30 per cent of the total flat
panel TV market.
HD TV HAS SIGNIFICANT LEVELSOF LONG-TERM POTENTIAL IN THEINDIA MARKET. IT’S ALSO CRITI-CAL THAT HD TV TAKES OFF IFDIGITAL IS TO BRING SOME premium value and differentiation for
the customer.
The key is to reduce capex (funds
required by a company to upgrade or
acquire new consumers) and consumer
costs across the value chain, which com-
prises HD TV sets, HD set-top boxes,
satellite transmission capacity and content.
There is a captive market of more
than one million HD TV set homes
waiting to be converted. Content - IPL
cricket, the Commonwealth Games,
FIFA World Cup and movies - will prove
critical, as will pricing. But right now,
before you have the economies of scale,
HD TV will be positioned as a premium
service that can increase average revenue
per user and provide a much-needed
boost to EBITDA (earnings before inter-
est, taxes, depreciation and amortisation).
As per our forecasts, there will be
350,000 HD subscriptions in India by
March 2011, growing to more than 5.2
million by March 2015.
THE NEXT LEVEL OF THE DIGI-TAL ENTERTAINMENTREVOLUTION IN THE FORM OFHD WILL CATCH UP WITH CON-SUMERS OWING TO offerings such as Dishtv’s HD service - DishTru HD. HD creates an audio visual sensoryexperience that is far richer, deeper and morepanoramic than standard definition viewing.
In 1982, the Asian Games set the stage forthe colour TV revolution. Similarly, theCommonwealth Games 2010 will unleash theHD growth in India. The year also promisesback-to-back sporting action in the form of theFIFA World Cup, ICC World Cup and theChampions League. All these sporting eventswill be broadcast in HD and will add momen-tum to the growth of HD in India.
For long, consumers have been unable toenjoy the benefit of HD technology due to lackof distribution and programming. But with sub-scription being as low as Rs 150 for four HDchannels and a set top box costing under Rs6,000, things are bound to change.
SALIL KAPOORCOO, Dish TV
R ZUTSHIDy. Managing Director, Samsung India
VIVEK COUTOExecutive Director, Media Partners Asia
4 3afaqs! Reporter, June 16-30, 2 0 1 0
Iwas extremely nervous beforesigning on as a judge forSTAR Anchor Hunt, a talentsearch show to find potential
news anchors across India. After all,an English-language author judginga reality show on a Hindi news chan-nel - when was the last time youheard that?
And yet, the STAR News contractwas in front of me. Over threemonths, we would traverse theentire Hindi belt, visiting around adozen cities.
We would cull the top 20 candi-dates from tens of thousands ofapplications filed online. After that,we’d put the selected candidates intoa stringent final round in the STARstudios in Delhi. From there wouldemerge a handful of candidates, whowould become the face of STARNews.
Yes, this wasn’t a regular realityshow, where the winners would bepatted on their backs, given gifthampers and sent home. Here, thewinners would actually get jobs asanchors for the news channel. Ifselected, they would speak to croresof people on a daily basis.
Still, I wasn’t convinced. What’san English-language author doing inthe middle of all this? The peoplefrom STAR asked me what theapprehensions were. I told them acouple.
One, Hindi news channels arethe kings of sensationalism. Theloud fonts and screaming headlines,the over-exaggeration of minor newsitems, the fake tugging at emotions -news channels in India are oftencriticised for the mockery they makeof news; and the criticism is notwithout reason.
Everyday, we have at least 50breaking-news items, which are for-gotten the next day. In the quest forTRPs, news channels turn intoentertainment shows.
The people from STAR looked ateach other and turned to me. “Yourconcerns are valid,” they said,“However, tell us one thing. Howwill all this change?” That sentencehit home.
It is easy to criticise somethingfrom a distance.
It is easy for me to sit in myEnglish-literature world and com-ment on the lack of standards inHindi TV programming. But it ishard to join in and try and improvethe situation. And here I had anopportunity to do it. Did I have thepower to signthe contractinfront of me?
“What else ?”they asked me.
“Why do youhave to make it areality show?” Isaid. “Why notjust an interviewprocess in youroffices? Themoment itbecomes a public show, there is SMSpolling with regional biases, whichhurts actual talent.”
The STAR people had come pre-pared for this.
“This may be a reality show. Butthere will be no SMS voting. Wewant the best, above everythingelse,” the media honchos told me.
No SMS polling? I wondered. Howcan a show give up on that easy,lucrative source of revenue?
“Don’t forget,” the STAR Newsofficial said, “We have to give thewinners a job. We live with them.”
I was impressed by the effort tomake a real show. I also saw the logicin showing the Anchor Hunt on TV.
This way, theyouth of Indiacould see theselectionprocess. Ananchor isrequired to havegood communi-cation andon-the-spotthinking skills.These are thesame skills used
in almost any job interview. So,whether a young person wanted tobe an anchor or not, watching theshow would help add some usefulskills to him.
“Do I have to be a tough judge?”I said. The STAR officials smiled.They could see I was leaningtowards the show. “You can be what-
ever judge you like. Just pick thebest.”
I lifted my pen and signed thecontract. And thus began a journeyinto the Indian heartland. We metthe youth of this country from allbackgrounds - rural and urban, richand poor, moderately to highly edu-cated. However, they had one thingin common - everyone had a dream,and they were willing to work hardfor it. Many candidates lackedanchor-like skills, but quite a fewwere excellent.
In every audition city, all of us -Tisca Chopra (Bollywood actor),STAR News anchors DeepakChaurasia and Siddharth Sharma,and I - had a tough time making thefinal shortlist.
I witnessed the raw talent of mycountry firsthand, which frankly, isIndia’s only hope in making it to theleague of big nations. A girl hadfought with her conservative parentsto come for the audition; a boy hadlearnt English by watching Englishmovies; some kids borrowed clothesto look good. When you see dedica-tion like this, you see hope for ourcountry, which has been marred bycorruption and poor leadership.
Every hard-working youth I saw,inspired me to work harder in myown job. Every youth we rejected, apain seethed through my heart. Afterthree months, I felt I had an experi-ence of a lifetime.
As the show shoot ends, all I cansay is STAR may have found a fewgood anchors, but I found some-thing a lot more valuable. I found alot of hope for my country, as I seeimmense pools of talent tucked awayin its interiors. All they need is anopportunity, that one little chance toprove themselves. I hope with thisshow, we have succeeded in provid-ing that.
For we as individuals can’t actual-ly change the world. But we can allbe that ray of sunshine, whichchanges a few lives. �
CHETAN BHAGAT
Hunting for the Stars
(Chetan Bhagat is an Indian author,whose books include Five Point Someoneand One Night @ The Call Center.)
Some of India’s well-known professionals write on issues that they feel passionately about
Every hard-working youth I saw, inspiredme to work harder in my own job.
BYINVITATION
It is easy to criticisesomething from adistance. But it is
hard to join in andtry and improve the
situation.
4 4 afaqs! Reporter, June 16-30, 2 0 1 0
The SUV lurched to astop and Ganga Singhjigot off.
‘What’s wrong?’‘Madam, I am just check-
ing.’ Ganga Singhji had hishead under the bonnet.
‘Ganga Singhji, what’shappening?’
‘Madam, the clutch platehas broken.’
I didn’t understand whatthat meant and neither didNaghma. ‘How much timewill it take, Ganga Singhji?’
‘Madam, I will try to fixit. I’m going to do somejugaad.’
A half-hour went by. Itwas already 1PM. ‘I thinkI’ll have to go get it fixed,’Ganga Singhji finallyannounced.
‘Why couldn’t he justfigure it out before?’Naghma and I couldn’t
help but crib, sitting in thecar, 20 kilometres away from ourstory.
But Ganga Singhji had beengung-ho: ‘It’ll just take me half-an-hour to go with this guy and get apipe which may make it work.’
Our local contact Naseeminformed us that getting another carwas going to be extremely tough, sowe didn’t have much choice but towait. That’s when Naghma looked atme, suddenly all chirpy: ‘Let’s gohave sugarcane juice!’
Uh-oh, what was she, nuts? Thelast time I’d had sugarcane juice waswhen I was six years old and lived inRK Puram. My dad had left thehouse armed with a couple of largecontainers to organise some from thelocal vendor. After that one time, wehad to make do with just the memo-ry of the sweet juice with its distinc-tive odour. Delhi’s civic authorities
had soon choked supplies as thecourts decreed that sugarcane juicedispensers had notoriously poorhygiene standards. Ma and Papawasted no time in describing all thediseases we could contract fromdrinking it, putting the fear of god inme. I had not ventured near a sugar-cane juice stall since. Two decadeslater, Naghma’s suggestion broughtback that fear: ‘But it’ll be dirty,’ Isaid weakly, knowing what a chickenI sounded.
‘Arrey, don’t worry, we’ll makethem wash the machine’ she said.
We left the guys to tend the bro-ken car and walked down to a nearbyjuice stand. The walk wasn’t exactlypleasant with Agra notching up 40degrees, and I was glad that I’dbrought along a dupatta to cover myhead. On seeing us the vendormoved towards the fridge that con-tained the bottled drinks. ‘No,bhaiyya, we want some juice,’ saidNaghma. ‘But first clean themachine.’
If someone had come into myestablishment and ordered a thor-ough cleaning, I’d have told themwhere to go. In Delhi, many vendorsand restaurants will tell you exactlywhere to go for lesser reasons: ‘Wedon’t have change, go to hell’; ‘Weonly have masala dosas, go to hell’;‘We only have this table, go to hell.’But this juicewala acted as if asking fora clean up was a routine and legiti-mate demand.
‘Wash it well, okay?’ Naghmacontinued with her directions. ‘Nowmake it without the masala, okay?Just plain.’
I didn’t want to reveal my non-gourmet knowledge of the best wayto drink sugarcane juice and anyway,Naghma seemed to know what shewas doing, so I took the glass of juicesans condiments, the way she hadprescribed it. I don’t know whether itwas because my throat was parchedand we were in the middle ofnowhere, between Taj Mahal andBuland Darwaza, but the juice tastedlike a glass straight from heaven. Icouldn’t stop raving about it: ‘Oh mygod, how amazing is this? Isn’t it?lsn’t it?
Naghma looked pleased with her-
self - she’d shown an ignoramusfrom the city one of the pleasures ofsmall-town life. We walked backrefreshed and ready to get on withour journey bur our SUV was stillnot moving.
I turned to Naseem imploringly:‘Naseem, what do we do now?’ PoorNaseem, our local fixer, hitched aride back to Buland Darwaza wherethe cab stand was and returned in aQualis with no AC and seats so hardthey blistered our buttocks.
‘This is not looking good, yaar,’said Naghma, as we bumped alongsorely. ‘Second day, and we have abreakdown.
Iwas more hassled about having toforgo lunch. I’d made a deal withNaseem to stop at his friend’s
restaurant for Mughlai food, whichhe’d said was seriously good.
But I was still on a sugar high. Ithink the juice had kind of seducedme into loving the idea of life on theroad. So even though we got back totown all hot and sweaty with only ahalf-hour to set up the show andeven after we were caught in a majortraffic jam, and even though we’dpanicked and screamed ‘Naseem, dosomething!’ - we all burst into laugh-ter when like an honourable warrior,Naseem called the local cops: ‘Sir,the NDTV team is here, please comeand get us out of this jam.’
What did we expect? Specialchoppers deployed by the police toland, lift us up and take us to ourshow location? Even though weknew it was totally irrational, we justfelt better that Naseem had madesome calls. Soon enough, the traffichad eased on its own and we did ahappy show. This time Naghma waspleased with all the production workhere and in Delhi. She got lots ofcalls telling her how fabulous andclever it was to have done the showfrom a roadside dhaba, sipping chai.
The warm fuzzy feeling was stillstrong the next morning as we head-ed for Gwalior. We were travellingthe 118 kilometres from Agra by busand the road was just amazing. It wasthe first time that we had the feelingof journeying on a new road. We’d alldone the Delhi-Agra route lots of
A Dacoit and a TeacherBraking News is an account of the journey that the author and her colleagues undertook acrossthe country in the NDTV bus to cover last year’s general elections. Excerpts.
We all burst into laughter when, like anhonourable warrior, Naseem called thelocal cops: ‘Sir, the NDTV team is here,please come and get us out of this jam.’
BRAKING NEWS
by Sunetra Choudhury
HACHETTE INDIAPages 310Rs 350
Excerpted with permissionfrom Hachette India
4 5afaqs! Reporter, June 16-30, 2 0 1 0
times before, but even thoughGwalior hardly qualified as unchar-tered territory, none of us had donethat route by road before.
‘This is where the dacoits used tobe, this is the Chambal region,’Naghma announced as we entered adistinctly ravine landscape.
Naghma had figured out thatshe’d clocked the maximum amountof travel among all of us and so shehad assumed the role of guide. Whatshe hadn’t prepared herself for wasmy unbridled enthusiasm; my adren-aline-induced super-enthusiastichigh.
‘It looks amazing! Wow!’ I saidevery thirty seconds clicking picturesso frantically it would have put atourist from Tokyo to shame. ‘Ohmy god, Phoolan Devi would havehung out here...Do you know, I thinkthey actually shot Bandit Queen overhere...it looks very familiar...Do youthink there are still some dacoitsthere?’
I think my questions were irritat-ing Naghma. She started a phoneconversation with her friend and Iheard her say, ‘Yes, Sunetra is thrilledthat we are going through theChambal. She wants to know ifdacoits still live here...’ And theyboth had a good laugh over it.
Naghma was still on the phonewhen I suddenly shouted, ‘What thehell?’
It was a scene straight out of acurry Western! There were two menon a motorbike; the man driving thebike was in his forties, the one on thepillion was older. The older manheld three big guns, two on oneshoulder and one on the other. Myscream got everyone’s attention, andwe all turned back to look and see ifthey were for real.
‘What are those people doing rid-ing with guns?’ Naghma wassilenced.
Ganga Singhji said, ‘Madam, theywill just shoot us.’
Would they? Of course not, I
thought. ‘Ganga Singhji, stop thecar! I want to speak with them.’ Noone was quite sure where I wasgoing with this and I didn’t reallyhave the time to explain what I wasdoing; I wasn’t sure either. If I wastravelling across the country, I justwanted to know why in god’s namepeople thought it was okay to driveon the highway with lethal weaponsslung across their shoulder. Maybe,it wasn’t very surprising for many.But, I sure hadn’t seen a sight likethis, and definitely not in Delhi’sVasant Kunj!
Mohammed took my cue andreadied his camera but none of us gotoff the SUV. ‘Ganga Singhji, will yousignal for them to stop?’
‘They won’t stop,’ Ganga Singhjisaid, hoping they wouldn’t, but heput his hand out as soon as we caughtup with them and they slowed downtheir bike. To my delight, the olderman with the guns got off the bikeand came towards our car. Anyway,despite his guns, he was smiling atus. When he came closer, I saw thathe had the most benign grandfather-ly expression. His wrinkled, bespec-tacled face didn’t look like it’d takeoffence at anything I’d say, howeverstupid.
Ileant across and lowered the win-dow to look at the old man in hisdhoti, kurta, gamcha and guns,
using what I like to think of as myspecial strategy; a strategy I use insome tricky reporting situationswhere because my questions havethe potential to anger the intervie-wee, I deliberately play dumb. I gig-gle a lot, laugh loudly and say somesilly things so the interviewee indul-gently attributes my offensive ques-tioning to my dumbness. With politi-cians, tricky bureaucrats, police offi-cers, it’s always worked. They alwaysrespond with mild irritation butoftentimes also divulge prize infor-mation thinking that my dumbnesswouldn’t be able to process the infor-mation!
So, in fact, in my mind, that waswhat I was doing again, but ofcourse, for everyone else in the car, itwas going down as something else.
‘Sir, we are journalists from Delhiand we just saw you with these guns,so we wanted to know what you do,’was my introductory line in Hindi.As soon as I said it, I knew that it was
pretty bizarre calling someone here‘sir’; ‘bhaisaheb’ or ‘babaji’ or any-thing else would have been moreappropriate but I just wanted tosound polite, servile even.
‘Where do you stay, sir?’‘In Morena.’Then I put my foot in it: ‘Are
you from a dacoit family, Sir.Everyone’s heart skipped a beat.
Is he going to blow Sunetra’s headoff now?
But the old man just laughed. Wasit my imagination, or was the strainshowing on his forehead? I decidedto go for the jugular: ‘Sir, are you adacoit?’
The man couldn’t take it any-more. ‘I am a Sanskrit teacher,’ hesaid, smiling through gritted teeth.
‘You are? Then what are youdoing with guns, sir?’
‘We are going to hand them overtoday. It’s the last day for that.’
‘Are guns necessary to survive inMorena, sir?’
He laughed indulgently at mysilliness.
‘Do you vote?’‘Yes, we usually vote for the
Bhartiya Janata Party around here.’‘What’s your name, sir?’ ‘Radhey
Shyam Shastri.’By this point I felt the man
deserved a medal for not blowing myhead off for asking such puerilequestions, so just to make him happy,I said, ‘Your guns are very cool.’
I don’t know how RadheyShyamji knew the meaning of ‘cool’but he was well pleased with mycompliment.
‘Hahahahahaha.’‘It was great to meet you.’‘Jai Shri Ram’.As soon as he roared away on his
bike, everyone burst out laughing.Naghma said, ‘Sunetra, only you cando this!
“Sir, you are very cool”, “Sir, areyou from a Daku family?” Howcould you ask him that?’
‘Guys, I had to ask him like that.How else would he have said any-thing?’
As it turned out, this exchangebecame the most quoted one on ourjourney. Whenever things got toostressed, someone would bring upmy conversation with Radhey ShyamShastri. It went beyond the group ofcourse, once it was aired. I hadfriends calling me up: ‘Listen, mycolleague said that apparently youasked a guy with guns whether hewas a dacoit, please tell me that’s nottrue?’
‘Yes, but you have to have beenthere to understand the context.’
Others were worried: ‘Don’t asksuch questions, yaar, it’s not safe.’ Iknew that this was one Dakuencounter I wasn’t going to livedown!
By the time we reached Gwalior,Naghma had called everyone inDelhi and even instructed her pro-ducers to carry my little clip with theDaku in the Hindi show. Everyonehoped that this entertaining piece oftelevision was just a precursor for allthe good stuff we had waiting for us. �
I giggle a lot, laugh loudly and say somesilly things so the interviewee
indulgently attributes my offensivequestioning to my dumbness.
BOOKEXCERPT
Everyone hoped that this entertainingpiece of television was just a precursor
for all the good stuff we had waiting for us.
4 6 afaqs! Reporter, June 16-30, 2 0 1 0
ITC SUPERIA LEMON FRESH The ad shows how body odour can prove to be a rift in theclosest of relationships. A father is shown playfully throwingup his child in the air. The child in the ad is, however, shownsuspended in the air till the father takes a bath using SuperiaLemon Fresh soap, thus, getting rid of odour.
Creative Agency: Meridian, MumbaiExecutive Creative Director: Rensil D’SilvaCreative Director: Sridhar RajagopalanFilm Director: Rensil D’Silva
AIRCEL MUSIC CONNECT Creating noise about the new value added service, thetelecom player has experimented with a billboard usingback lit acrylic boxes and neon tubing.
Creative Agency: Dentsu CommunicationsOOH Agency: PrimesiteExposure: Mumbai
BANK OF BARODA The bank is running a banner ad campaign to convey itstechnological capabilities in seven banking productsincluding ATM, rail ticketing and net banking facility amongstothers.
Creative Agency: Mudra West and Tribal DDB (India)Media Agency: Media ContactsExposure: Yahoo!, MSN and Business-Standard.com
KARNATAKA TOURISM The government of Karnataka organised the Global InvestorsMeet earlier this month in Bengaluru. Karnataka Tourismcame out with a TVC inviting potential investors to the meet.The TVC featured popular art forms of the state.
Creative Agency: Stark Communications, BengaluruCreative Director: Sharat KuttikatArt Director: Santosh KCopywriter: Sharat KuttikatFilm Director: Ashok V.A
MARUTI ALTO The film showcases Maruti Alto’s features presenting it as afavourite choice among first car buyers through an arrangedmarriage sequence with a couple meeting each other, goingon a drive and getting to know each better by the end of it.
Creative Agency: Lowe Lintas (New Delhi)Creative Heads: R Balki, Amer Jaleel and Anand SuspiCopywriter: Anand SuspiFilm Director: Navdeep Singh
New and notable campaigns across television, print, out-of-home and digital media
DIGITAL
Got some great campaign that has been published recently? Upload it on afaqs! for the world to see.Visit: www.afaqs.com/advertising/creative_showcase
SUGARFREENATURAThe ad introducestwo new flavours ofSugar Free Natura –Ginger Masala andLemon Mint showingthat even ants getattracted to thesweetener.
CreativeAgency:Rediffusion Y&RCreative Head: Anisha SarinCopywriter: Rajat Dawar and Ramkrishna Raorane Art: Vihar Patkar and Lokesh Padmashali
TELEVISION
LG REFRIGERATORS As part of its new outdoor campaign, the South Koreanbrand has created a clock mechanism on hoardings. The life-size clock has fresh fruits and vegetables in place ofnumbers and cut-outs of two Okra (bhindi) as the hands.
Creative Agency: Rediffusion Y&ROutdoor Agency: LG Ad and OMIExposure: Delhi, Mumbai, Hyderabad and Bengaluru
JM FINANCIALThe ad for JM Financial’sservices emphasises theimportance of trust infinancial matters andassures consumers toexpect the same from theGroup.
Creative Agency:Creativeland Asia Creative Heads:Sajan Raj Kurup, VikramGaikwad and Anu JosephCopywriter: HuzefaKapadia and Siddhartha Menon Art: Bryan Elijah and Devdatt ManjrekarExposure: Magazines
TIMES OFINDIA(MISSIONADMISSION)Presenting The Timesof India’s newinitiative MissionAdmission, the adtalks about theplatform that enablesstudents to take informed decisions about the courses theywish to pursue, profiles of various colleges and detailsabout courses are on offer.
Creative Agency: TapRoot IndiaCreative Heads: Agnello Dias and Santosh PadhiCopywriter: Kaushik IyerArt: Abhishek Sawant
PRESENTSCAMPAIGNTRAIL
OOH
4 8 afaqs! Reporter, June 16-30, 2 0 1 0
NEWSBOOKS
RAJESH MEHTADirector, Marketing, South and South EastAsia, Western Union
Books for me are companions, stress busters,entertainers, guides and knowledge mines.
They have always stayed with me through thick andthin. I have always enjoyed reading fiction, books bythought leaders, work related and sometimes even
comics like Archie too!I am currently reading two books, ‘The Google Story’ by David A Vise.
It is definitive account of one of the most remarkable and successfulorganisations created over the last decade. The point being, can anyone ofus today stay away from using Google in our day to day life? The secondbeing ‘The Funniest Thing You Never Said’ by Rosemarie Jarski, an ultimatecollection of over 6000 humourous quotations on various topics underthe sun.
The next books on my ‘to-read’ list are ‘The World Since 1945’ by WayneC. Williams and Harry Piotrowski. This book is a promising account ofevents that have shaped the world, the major political, economic and ide-ological patterns that have evolved in the global arena from the end ofWorld War II to the present day.
‘Carry on Jeeves’ by P.G. Wodehouse, who is one of my all time favouriteauthors, is also on my list. This book specifically isabout the famous character created by him called‘Jeeves the Butler’. Sometimes I read his books overand over again and they never fail to perk me up orgive me a couple of hearty laughs.
Another book I just picked up at the airport is‘Our Iceberg is Melting’ by John Kotter. It is aboutchange management, it talks about eight steps toensure successful organisational changes.
As told to Surina Sayal
Reading Room
THE FEMALE VISIONWomenÊs Real Power at Work
Authors: Sally Helgesen & Julie JohnsonPublisher: Berrett-Koehler Publishers (Paperback)
As everyone knows, women and men experiencethe world differently - not only do they see things
differently, but they see different things. Based on extensive research and workplace experi-
ence, The Female Vision demonstrates that what women perceive inorganisations and beyond that goes unnoticed and unrewarded is exactly whatso many companies need to succeed. Helgesen and Johnson delve deeply intothe stories of a number of women whose vision improved their companies.
THE UPSIDE OF IRRATIONALITYThe Unexpected Benefits of Defying Logic at Work and at Home
Author: Dan ArielyPublisher: Harper (Hardcover)
In his earlier book, Predictably Irrational, social sci-entist Dan Ariely revealed the multiple biases that
lead people into making unwise decisions. Now, in The Upside of Irrationality, he exposes the
negative and positive effects irrationality can have on lives. Focusing on behav-iour at work and in relationships, he offers new insights and truths about whatreally motivates one on the job, how one unwise action can become a long-term habit and how people learn to love the ones they are with.
New Arrivals
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JOBSWITCH
JOBSWITCHOrganization Name: MRMWorldwidePosition: Art DirectorLocation: MumbaiProfile: Art Director: The applicantshould have a degree in art from aninstitute of repute, hands offexperience in Digital Design –Websites, Online Campaigns etc. ofover 7 years, thoroughunderstanding of digital mediumand the ability to generate &visualize ideas quickly, managecreative projects and translateservicing briefs into creativestrategies for online media.Email:manoj.mansukhani@mccann.com............................................................Organization Name: DinamalarPosition: AssistantManager/Manager - Space Selling –New Media (Online/Mobile)Location: Bangalore, Chennai,Mumbai & New Delhi (NCR)Profile: The incumbent will have tomeet Agency/Client in their regionand generate optimum revenue,maintain a very good PR withAgency/client, create innovativepresentations to the clients, achievetarget consistently, identify newavenue of revenue generation fromthe region. She/ He should at leastbe a graduate with at least 2 years ofexperience in online mediaEmail: bala@dinamalar.in............................................................Organization Name: ExperienceCommercePosition: Digital Brand ChampionLocation: MumbaiProfile: Looking for a digital/socialmedia savvy who will work onmarketing, planning and executionof campaigns. Previous experiencewith the following is helpful:Analytic Tools (e.g. GoogleAnalytics), Media Planning, GoogleAdwords, writing Reports/casestudies and/or Blogging. Graduate inany Discipline or PG Diploma(Communications/Marketing) withat least a year of experience isdesired.Email:hr@experiencecommerce.com............................................................Organization Name: KingstonTechnologyPosition: PR SpecialistLocation: MumbaiProfile: The incumbent would beresponsible for maintaining anddeveloping Media relationship,Press release
composition/distribution, Productexposures, including reviews, write-ups and placements,PR activityplanning/execution, Fulfil mediarequests including interviews,Mediaactivity, PR report, Daily mediamonitoring/feedbacks and Dailynews clippings. She/He will beexpected to handle complete PRportfolio for the company withoutany agency. Post Graduate in MassCommunications and experience of3-4 years is desired.Email:marketing_india@kingston.com............................................................Organization Name: ExplocityPrivate LimitedPosition: General Manager –Business DevelopmentLocation: BangaloreProfile: The successful candidatewill have to interact with leadingbusinesses in India and abroad togenerate revenues for the companyin ad sales, custom publishing andcontent creation, generate ideas andleads and then follow these throughto completion. Knowledge ofcontent sale, advertising sales andbusinesses related to the publishingindustry both in print and theinternet is desired. MBA orequivalent.Prior experience in client servicingwith leading advertising agencieswill be an added advantage.Confident personality and should beable to put clients at ease. Ability tospeak well in English and carryone’s self with assurance.Experience of 7 to 10 years inMarketing and Sales is essential.Email: jobs@explocity.com............................................................Organization Name: Bennett,Coleman & Co LtdPosition: CopywriterLocation: MumbaiProfile: The incumbent shouldhave excellent command over theEnglish language, expert writingskills, editing and proof readingabilities,ability to develop highlyeffective, original and targetedmarketing copy, strong visualizationskills, exposure to writing printpromotional materials, online webcontent, press releases, copy to assistadvertising and marketing efforts,etc. Graduation with a PostGraduation Degree or Diploma inMass Communication andAdvertising background with 2-5years of advertising experience isdesired.
Email:amrita.kalia@timesgroup.com............................................................Organization Name: Clients ofABC ConsultantsPosition: Head – Human ResourcesLocation: MumbaiProfile: India’s largest mediaservices conglomerate is looking fora Head- Human Resources who willbe responsible forformulating/executing HR strategiesand policies to support companygrowth and business objectives. Therole will oversee and manage thefull spectrum of HR activitiesincluding recruitment, performancemanagement, compensation andbenefits, employee relations,training and development. MBAwith 12-15 years of relevantexperience is desired.Email:n.sharma@abcconsultants.net............................................................Organization Name: TheEconomist GroupPosition: Sales DirectorLocation: MumbaiProfile: The successful candidatewill be responsible for building theinternational sales market for TheEconomist. This would be acategory creation role-education,espousing the benefits of brandbuilding abroad, understandingbusiness needs of prospects, creatingproposals that truly match needsusing the various offerings from thegroup. Besides, she/he will also beresponsible for domestic advertisingsales. This is a market share gamewhere our presence amongst mediaagencies and large domesticspenders is the key. In thebeginning, this role would be a soloone, without a team (there is anexisting representative who will alsobe managed by the sales director).Email: suprioguha@economist.com............................................................Organization Name: MitsubishiElectric Asia Pte. Ltd.Position: Sales & MarketingManagerLocation: GurgaonProfile: The successful candidateshould be BE & MBA with 8-10 yrsof Sales & Marketing experience incorporate or channel distribution.Sound knowledge of visual andimaging technology and productsisdesiredEmail:[email protected]............................................................
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5 0 afaqs! Reporter, June 16-30, 2010
Prajavani, the flagship Kannada daily from The Printers Mysore Group, yet again proves that it is indeed the most trusted and respected in the category. We just grew by 3,26,000* more readers. And, at a time, when the print industry has generally shown signs of sluggishness. More and more Kannada readers choose Prajavani, because it is the voice of Karnataka. A trusted, dynamic voice you cannot ignore.
Growth comes naturally to us. Only this time it was the fastest!57 lakh* readers agree.
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The influence of truth
������������ ���������������� ������� Sudip Nag, GM (Advertisement) - 96861 88840. ���������� Vijaya R - 98440 92091, Tony Doulton - 98450 67371, Anantha Krishnan - 81477 52856 ������ Deepak Menon - 98106 65814 ������ Kaushik Laha - 98303 23151 �������� A V Vinod Babu - 99520 16709 ���������� Ramachandra Rao - 98490 41737 �� ���� Rajeev Pathria - 98201 51642. Or � �����[email protected]
PRAJAVANI THE MOST TRUSTED KANNADA DAILY
*Sou
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![[IJCT V3I3P5] Authors:Alok Kumar Dwivedi, Gouri Shankar Prajapati](https://static.documents.pub/doc/80x56/6360a7979998b8646c0eeba8/ijct-v3i3p5-authorsalok-kumar-dwivedi-gouri-shankar-prajapati.jpg)