Aroon Purie, CEO & Editor in Chief, India Today Group

<p align=justify>"I think that the whole media is in a crisis. It's a paradoxical situation. You have an exploding media, which is expanding in every segment – television, Internet and print. But I also think everybody is questioning their basic assumptions. Who is our target audience? How do people get information? When do they want this information? What are they willing to pay for information? Has news become a commodity? By information I mean news, opinions, analyses. These are the questions everybody is asking themselves because the consumer is getting information from many different sources in real time. There is no waiting any more."

e4m by exchange4media Staff
Published: Mar 17, 2006 12:00 AM  | 32 min read
<b>Aroon Purie</b>, CEO & Editor in Chief, India Today Group

"I think that the whole media is in a crisis. It's a paradoxical situation. You have an exploding media, which is expanding in every segment – television, Internet and print. But I also think everybody is questioning their basic assumptions. Who is our target audience? How do people get information? When do they want this information? What are they willing to pay for information? Has news become a commodity? By information I mean news, opinions, analyses. These are the questions everybody is asking themselves because the consumer is getting information from many different sources in real time. There is no waiting any more."

He started the empire with a massive failure, a miscalculation that would have had most entrepreneurs scurrying for cover. India Today was first conceptualised as a window on India targeting the Non-Resident Indian – and while his editorial team succeeded in putting together a credible and competent product, the organisation could never come to grips with the marketing and distribution challenges. The International edition was consigned to the dustbin – but not the product that had been created. It was re-engineered, and the NRI’s loss became the Indian citizen’s gain.

Aroon Purie has built his empire around the five-letter word “Today”. The bedrock was the runaway success of what was then a fortnightly English newsmagazine, India Today. He saw a need for quality newsmagazines in Indian languages, and proceeded to launch a slew of India Today versions in the vernacular – each one a resounding success. He launched a music publishing business, and named it – you guessed right – Music Today. He launched a superlatively organised Internet newspaper christened The Newspaper Today, which, like many a dotcom, sank without a trace. When he forayed into television, the holding company was called TV Today and its first offering was the Hindi News Channel, Aaj Tak – which, surely, one can translate to “Until Today”. The English news channel that he proceeded to launch is named, quite simply, Headlines Today. And when he felt that there was an opportunity to enter the newspaper business with a tabloid in Delhi, he dispensed with prefixes and suffixes – it’s called Today.

The word Today seems to have ruled a large part of Aroon Purie’s life and empire, but what emerges in a conversation with Anant Rangaswami, Editor, Impact, a premier weekly on marketing, advertising and media from exchange4media, is that he is the man who sees Tomorrow. Purie talks about media yesterday, media today and, most importantly, media tomorrow.

Q. The growth of niche magazines seems to be very slow, but you’ve done well with niche magazines or specialist magazines. This is a space you have successfully occupied. What more can we expect to see in this space?

I must tell you that all three magazines – Good Housekeeping, Scientific American and Reader’s Digest – have performed far beyond our expectations. Reader’s Digest, since we’ve taken over, has grown by over 40 per cent. It’s now 660,000 copies. Good Housekeeping within a year, is around 85,000 copies. Scientific American is almost 10,000 subscribers already. And it’s priced at Rs 100! It’s something you wouldn’t think there was a ready market for. We’re very heartened by these successes, and we’re going to launch Men’s Health in May that’s going to be the next big one. And you’re going to see many more.

The youth market is something we are definitely interested. But magazines for youth are notoriously difficult to get right because the age group moves so fast that you have to keep track of who you’re actually aiming at. But yes, it’s a market we have to look at, because of the demographics of the country.



Q. So, has ABC lost its relevance?

I wouldn’t say ABC has lost relevance. I think ABC has to change itself. ABC actually goes and looks at physical copies being printed, checks that they are all paid for to give you net paid circulation. The problem is ‘raddi’ economics does not exist in other countries from which ABC’s rules originated. There is a large degree of benchmarking. If the ABC certificate has a certain figure, then your readership has a certain figure, and you can say, “look, I am printing so many copies, and, therefore, I have so many readers.” ABC is also the first filter for readership surveys. Where do they go and survey? In that sense it is very important.

ABC is a valid exercise. As long as they start tuning themselves to modern times, ABC will be immediately relevant.

Readership, of course, is the most important. That’s what an advertiser looks for. There’s a constant debate on how to keep improving the methodology for readership surveys. That’s a valid debate, because you’re getting huge swings. There’s IRS, there’s NRS, each one has its own methodology; there are publications which get the short end of the stick. That is an ongoing process. Readership is a very good measure that should not be discarded. We need to figure out how to make it more relevant and accurate. It’s one of the best international practices. There’s no doubt in my mind that both these bodies (ABC and Readership Surveys) are relevant currencies and must be improved.



Q. What about Target (magazine for children, now defunct)?

All the children’s advertising had moved to television. All the Cokes and the Pepsis and the Cadbury’s had moved away from print. In order for them to advertise in print, you need huge circulation – 100,000, 150,000. Till you reach figures like these they won’t even talk to you – and that’s a very tough proposition.



Q. You’ve often spoken of passion as a prerequisite to succeed in this business. What is there in your DNA that allows the passion to transcend through the organisation – and resulting in your not losing people?

I think the first thing is the way we do business. We believe in ethical business, editorial integrity, empowering people to do their job and professional excellence. There are certain values that we have been able to perpetuate in our organisation. That certain things are not negotiable. The people who stay on subscribe to these values and enjoy working within the Group. They are then given the freedom to operate within those parameters.

I think it’s a combination of all factors in terms of the freedom to operate, creating a challenging environment. I think everybody in this organisation works hard. They’re pushed to their professional limits. We’ve put a big premium on learning – that is, you keep improving on the job. All these, I think, result in people feeling good about working in this organisation.

Now that we’ve grown into different media, there are different opportunities. They feel there are opportunities for growth in different spaces. Recently, we’ve come up with an internal website where we post all vacancies, and encourage people to apply for cross-functional jobs.

Everybody has to face up to reality today. How the environment is changing, you have to keep pace with it. Certain media is hot, certain media is not so hot. That’s a fact of life.



Q. Do you see stings as an important component of your editorial products? Stings and investigative journalism?

The key thing is investigative journalism. The sting is a matter of technology. Investigative journalism is something that should be encouraged in India. There are so many things which are wrong which can be put right by exposure. Whether you do it through a sting, or whether you do it through looking at a lot of documents and researching yourself really doesn’t matter. Investigative journalism is very much a part of journalism and should be encouraged by all media. But it should be done with a degree of ethics and in public interest.



Q. In radio you have done some odd things. You sold RED FM then within a few days bid in Phase II and got frequencies in the same cities and more. What are you up to?

Well, someone was willing to offer us a good price for RED FM and was in a hurry to get into the business, so we sold it, but without a non-compete clause. Then we bid very smartly in Phase II and got the three metros with the lowest cost bids. If we had stayed on with RED FM and migrated to the new regime, it would have cost us Rs 30 crore more. So, we wiped out all our cumulative losses and got back into the business. Not a bad deal. Also, we have four other stations. The share of radio in the ad pie is bound to grow and we are confident that we will be one of the leaders. We understand the business.



Q. To get back to what you were saying… you’re going to have to marry print with the Internet, with SMS…

Everybody looks at themselves increasingly not as a magazine publisher but as a content producer. Hopefully, valuable content, which is platform agnostic. Then, how do I leverage my brand as a content producer beyond just giving information? The key in the future is interactivity. How you can interact with your reader, involve him with your experience and this is where Internet will play a key role and even events like conclaves. The second important part is that for me to make content valuable, I need domain expertise – which means journalists must have expertise in a particular field. Otherwise, you're going to be taken over by blogs. Blogs will file unedited, unresearched information from everywhere, which people will feel is the same if not better than publishers. Unless you're able to say, "Look, I have some exclusive piece of knowledge and information because of my study or because of my access", only then will people be willing to pay for it.



Q. You’ve got virtually no presence in the newspaper arena – except for Today. Are you tempted to take Today to other towns, which might have a situation amenable to an afternoon paper? Are you tempted to get into the newspaper business itself?

As a person in the media there’s no question of our not continuing to look at a newspaper opening. The issue is, the newspaper players are all well established giants. There is no point getting into a market unless you are absolutely sure that you are going to succeed – that is my philosophy.

I must be absolutely sure in terms of the amount of money it will take and the amount of time it will take in order to dislodge the big players – that is the key question.

You are seeing something happening in Mumbai and everybody is watching how that plays out. There are many openings in newspapers of a different kind, which we will continue to look at. The afternoon slot is something we got into because we thought the Metro in Delhi would be a good launching pad for this kind of a newspaper. We will continue to explore such possibilities. We are also looking at other cities.



Q. It’s 30 years now, and you’ve been an unusual case in that we’ve had one player ruling for so long. Even when you went from fortnightly to weekly, you became the leader instantly. How do you see this whole genre – the general interest news magazine – panning out in the next 10 years?

Firstly, I think the position of India Today in the whole media space is not fully appreciated. India Today has nearly 50 per cent readership share of all English magazines and over two-and-half times its nearest rival. Its SEC A readership is more than its rival's total national readership. India Today is perhaps the only truly national media brand and, with its five editions, it has a readership of over 20 million. The combined readership of India Today English and Hindi is more than 50 per cent of the readership share of the mighty Times of India and Nav Bharat Times with all its editions. The point of all this is that we are very uniquely placed but we are not finished. We have a clear growth path in language editions, there are 12 major languages still left, and in lateral extensions as we have done with Simply Delhi, Mumbai, Bangalore and now even community-wise with Simply Gujarati and Punjabi. And, then, Spice and Aspire. Plus, there are many more in the pipeline.



Q. What about the ‘Simply’s? Could we see these being spun off as separate publications?

Our strategy there is completely different. We are adding value to the India Today reader. That is what our proposition is – giving the India Today better value for his money. We’re giving him Spice, we’re giving him Simply and many other magazines – Money Today. This is building value in India Today. But these magazines could well be made available without India Today very soon.



Q. A question that I would like you to spend some time on. The whole issue of sting journalism. In some ways you’ve been a strong supporter of sting journalism, in the sense that you believe stings, which expose corruption is good for the country. You’ve been a supporter of Tarun Tejpal, and so on. But sometimes, stings can go horribly wrong… they can be misused. How does an organisation keep tabs on misuse? Do you think it’s wise for a newspaper to publish the Salman tapes, and a few months later you discover that they were doctored tapes? You can do people terrible harm. This could happen in print, in TV. How does one handle this? How do you, personally, ensure that none of your editorial products is open to misuse?

The test is very simple. It has to answer the question: is it in public interest? I think the unwritten guidelines deal with this. Each sting operation is discussed in detail, on merit. Is it in public interest? We’ve come across so many tapes, which are of people’s personal lives, we’ve just thrown them away. It has to have some limits where it does not intrude on people’s privacy, or in any way endanger them. The fact that whether the material is genuine goes without saying that the responsibility rests on the media to verify its authenticity. That is why channels chose not to carry the Amar Singh tapes. Everyone was delivered a CD.



Q. Where systems are not in place – and I don’t want to name channels – there have been instances where they put up a story where they haven’t done the background checks because the pressure on the journalists to break stories is so high. How does one deal with this?

That is a professional failure if someone has not done his job right. There is no pressure to break wrong stories. In any process mistakes will happen. The concerned media must apologise and make amends in the best way it can.

I’ve always been a proponent of self-regulation. The industry must get together and lay down some standards – whether it’s the Indian Broadcasting Foundation or INS.

The other problem is that the laws of the country are not enforced. There are laws regarding defamation, obscenity and incitement to communal discord. If you find a channel has broken the law pull the channel’s license and take him to court. Let the government enforce the law. You enforce the law and 90 per cent of the problem will get taken care of. However, I sincerely believe that the media by and large in India has been very responsible.



Q. What can you do about that?

Here, we are trying to bring in international practices. We are trying to get other people involved as well. We’ve been in discussion with MARG to try and improve the way radio is measured. It’s become too much of a function of brand building. You spend money on brand building, you get listenership. In fact, (listeners) may be listening on your station, but they will name the station which spends more money on brand building. That needs to be corrected.

As the business grows, the research will become far more accurate. They will have to measure recall of programmes, which will indicate the radio station that they are listening to…



Q. They’ve tried to do this, they’ve tried to link the radio jockey with the programme and the radio station, and it has proven to be a complete mess. Respondents named Jockey A, Station B and Program C! It’s going to be complex. Therefore, again, people with a newspaper would probably find it easier…

If you put more filters into the question… that is, ask more questions which will tell you the guy is really confused in terms of what he’s listening to. It’ll give you a better idea of what the actual listenership is. The people who are in the industry will, sooner or later, get together and ask for a fairer listenership research, which is not dominated by one player. There is going to be an industry view on this. Whichever is the best international practice, and whichever is the fairest is really what advertising agencies and the radio players will push for.



Q. Are you looking for overseas players to invest in your radio foray?

We are looking for international partners in radio who are in radio and can add value to the business. I believe the foreign equity cap at 20 per cent is not consistent with television. News is not allowed on FM. Therefore, it is purely entertainment like TV channels, which have no cap on foreign equity for entertainment channels. Even for news, it is 26 per cent. So, radio is totally out of sync.



Q. Another area in which you are completely absent, and which you could be looking at, is Outdoor. Almost every major player in media is looking at outdoor and taking strong positions…

Quite frankly, I have no interest in outdoor, because I see no editorial value there. It is pure infrastructure. We are an editorial driven company, and if we can add editorial value to a business we would surely be interested in it. Otherwise, it is just trading.



Q. Back to the issue of measurement – on television. You are now a very big player on TV, how are you dealing with the fact that a news channel can never really deliver huge TRPs. Niche channels, with the present system of measurement, hardly register. Your channel is on air, you’re spending money on it – but it’ll never deliver high ratings. It must put your sales team under pressure all the time. Do you have any issues on measurement of television?

That’s also an ongoing process for improvement of viewership data. What they need to do is to increase the number of boxes, they need to expand the TRP towns. That’s how you widen the net and actually reflect true viewership. There’s a lot of extrapolation that goes on in order to arrive at your viewership. Something needs to be done to get more accurate. More boxes, bigger sample.

News channels actually get a very high share of the advertising when considering their small viewership. I think it’s about 10 per cent of the advertising and 5 per cent of the viewership. That’s because they deliver a different and very relevant audience than the entertainment channels.

Yes, the viewership of smaller niche channels, which deliver very good eyeballs, get lost in the wash. Smaller channels, which actually have viewership which doesn’t get reflected as much as they deserve.

I’m attracted towards what I define as reality TV. Anything that is non-fiction. It could be a gaming channel with shows like KBC, reality TV, health channels and so on. I don’t think we have the core competence to produce soap operas.

Entertainment, I feel, is well served by existing players and we have a very strong film industry, which supports these channels.



Q. Can you take us through your satisfaction levels on Today and how it’s grown?

Today is now around 60,000 copies. The biggest problem with Today is its distribution. There is no afternoon distribution network. The morning distribution network just vanishes. We have been forced to build our own distribution network, and that has taken time. It’s a proprietary network, in the sense that we own it. In that sense its valuable.

As the Metro grows into areas that relate to this kind of product, Today will grow.

I’m quite happy with the editorial product. It is a different kind of tabloid, a different kind of newspaper than you see in the market. It’s addressed more to the younger generation, deals with subjects, which are very local and does not pretend to be a national daily. And above all, it has got attitude. An attitude of audacity and irreverence. I think it will give you a readership of a kind which other newspapers don’t give you. A lot of people get their morning newspaper and don’t even read it. The newspaper is one product which people stop consuming and the producer will not know it till much later just because they can’t get up in the morning to stop it and it’s a habit and so cheap. I would like to see how many would buy a newspaper off the newsstand. I think Today has a great future; get our distribution right and take it to other cities like Mumbai.



Q. While on these magazines – a question which you are probably best qualified to answer. How would you differentiate between a niche and a special interest magazine?

To me, special interest is slightly broader than niche. They are B2C. Special interest would be Men’s Health, Good Housekeeping, these kind of magazines, which are focussing on a particular activity or a broad target audience. Niche is B2B. It is like doing a magazine on say, chemical engineering or construction that becomes much narrower. Magazines like this, to my mind, should be purely cover price driven. You should recover all your costs through the cover price. If advertising does come, that’s jam. If it doesn’t, your business model is still sustainable. Its valuable editorial for that niche audience and they should be willing to pay for it.

Special interest magazines cannot survive on cover price alone. They need advertising and normally address a broader target audience although segmented.



Q. Where will we see Living Media more dominant? In niche or in special interest magazines?

Living Media will straddle across all magazine segments – general, special interest and niche. At the moment we find that the niche magazines that are already there are underpriced. But this will change in time.

Also, I think there is still scope for mass circulating general interest magazines, specially in regional languages.



Q. Who’s going to bite the bullet here? The leader ought to be the one to do it. Why not India Today at Rs 35?

Well, we exist in an environment around us. A newspaper is priced at Rs 2 to Rs 2.50, that sort of sets the benchmark. If they increase their prices, it will set the ball rolling for magazines. I think sooner or later reality will set in. Advertisers will not continue to support and subsidise media forever. Somewhere along the line this is going to break the camel’s back. You’ve got to produce content that people are willing to pay for. That’s why editorial content is the most important. That has been the theme of the India Today group as a whole – editorial excellence. Invest in editorial; everything else comes later. If you invest in editorial, that editorial is going to be valued. That is when you can charge money. We’ve raised it (India Today cover price) from Rs 15 to Rs 20; down the road we will continue to keep looking at the market to see how much the reader is willing to pay, and also what the rest of the environment is doing.

The people who are charging less money are not new challengers. The newspapers that are doing this are from existing groups; they are doing it for their own business and competitive reasons, which I believe are short term tactics. If you compare the price of newspapers and magazines with other products like a price of a movie ticket in a multiplex (Rs 150) and price of a newspaper of 40 pages for Rs 2 or a magazine for Rs 15-20, it is ridiculous. Sooner or later there has to be some parity.



Q. There have been, for you, many defining moments at India Today, almost milestones. The Emergency, perhaps, was one such milestone. Can you take us through three or four such milestones?

Firstly, I'm a very bad historian. Excuse me if I don’t remember all the benchmarks. But a couple of them do come to mind; definitely 1977. That's when the elections took place after the Emergency was lifted. That's the time Indira Gandhi was thrown out – I think that’s the time that India Today really took off. That's the time that there were so many stories that were coming out, that were suppressed during the Emergency. Then you had the change in Government, Mrs Gandhi losing her deposit against a joker like Raj Narain, the first time that there was a non-Congress government in power, that too a coalition of parties headed by a character like Morarji Desai – very interesting times. That was the time that India Today captured the whole scene in a very imaginative and colourful way that got people's attention. From there on there was no looking back. We had a team of young reporters, who just went out and told it the way it was. It was good writing, good pictures and newspapers were just not up to it. That is where India Today established itself as a newsmagazine.

From then on, India has been through such a dramatic time, with the fall of the Janata Government in 1980 and the return of Indira Gandhi, the rise of Sanjay Gandhi, his death then the induction of Rajiv Gandhi, the assassination of Mrs Gandhi and so on. It was such a turbulent period in India; an exciting time; it was ideal for a newsmagazine like India Today to report these events and it did it with clarity and credibility. That’s why India Today has got its leadership position in the media.



Q. It was originally conceived as a magazine for the International Indian community.

It didn't work out. It's a funny thing, but actually India Today was born out of a failure. The fact is that we didn't realise how difficult it was to market such a product to Indians living abroad. Indians are scattered all over the place. North America was a major market, UK was another one. It's very difficult and expensive to reach them. We soon realised that this was going to be a very long haul. As an experiment, we put some copies into the domestic market and discovered that there was a greater degree of acceptability. Soon, from that point on, we started building on the domestic market. The big lesson we have learnt is to build a strong domestic market before you go international. You could apply this to any other product.



Q. It is a tougher and tougher market. You’re competing with television, with the Internet.

I think that the whole media is in a crisis. It's a paradoxical situation. You have an exploding media, which is expanding in every segment – television, Internet and print. But I also think everybody is questioning their basic assumptions. Who is our target audience? How do people get information? When do they want this information? What are they willing to pay for information? Has news become a commodity? By information I mean news, opinions, analyses. These are the questions everybody is asking themselves because the consumer is getting information from many different sources in real time. There is no waiting any more. In my opinion, this question is more critical for newspapers. Today, newspapers no longer break stories. I don't get my F.I.R. (First Information Report) from newspapers any longer. I get this from the evening broadcast or morning broadcast, or even my mobile phone.

Newspapers have to go beyond just delivering what has happened the night before, which I already know about. I think that's the crisis they are facing – and they haven’t, to my mind, been able to successfully meet that challenge.



Q. Are we going to see newspapers becoming more analytical, more comment oriented?

They have to! Are they tuned to do it? Can they do it in 24 hours? Can they maintain quality? They have to reinvent themselves. Magazines have been doing this from the beginning. That is their niche. Magazines deliver understanding, thought and memorable pictures. That’s the need, which magazines will continue to fulfil.

Magazines will remain relevant because they are used to doing what is urgently required to be done now by newspapers. Television has no memory; it's difficult to remember what you saw a few minutes ago because you are captured by the new images on the screen. I think magazines are well placed in today's environment. They, of course, like all print media, will have to adapt to the new media of the Internet and news channels by leveraging their content and brand.



Q. India Today and Business Today are trying to come to terms with NRS, IRS, ABC in the sense that there is discomfort with these measures. You are one of the few groups to have spoken about it. Spoken about it through action – you don’t seem to care about ABC. What do you think can be a neutral, credible measure of how a magazine is doing or how readership is doing, or whatever?

Let me first tell you about ABC, because I was intimately involved in ABC. I was the Chairman of ABC, a member of ABC. We didn’t walk out of ABC just like that. We made great efforts in trying to tell them, “Look, ABC is not reflective of modern times. How do you market products? How do you price them? How do you reach your readers? You have to change the rules under which you decide this is paid circulation, this is not. We prepared an in-depth document, which told them that newspapers were going through what we called ‘raddi’ economics. The ‘raddi’ value of my newspaper is more than what I pay for it. You can. Therefore, just print the newspaper, get an ABC stamp on it, and the dealer just dumps it as scrap. The paper does not even get to the reader. This is the big problem with ABC and I believe it still exists.

For magazines, it’s a question of marketing in terms of gifting premiums, holding subscription drives; all those rules they are not willing to change. We said this is not the way magazines can be marketed. We said, “Look, unless you are willing to change, we are going to walk out.”



Q. You’ve also been saying that magazines and newspapers are underpriced in India…

Not just magazines; the whole of media is underpriced. Cable television is underpriced. Take what you get at home and compare the 200 channels you’re getting for Rs 350 or Rs 500 per month and convert it into dollars – that’s around $10. Newspapers are priced at around 4 cents, Rs 2.00 here, compared to the New York Times at $1 (Rs 45) or London Times at 60 p (Rs 46).



Q. You were one of the first players in the Internet space with The Newspaper Today, which fell by the wayside. We’ve not seen anything in that space from the India Today Group.

The e-newspaper that we launched was an idea way ahead of its time. It was a wonderful idea. It looked like a newspaper, it felt like a newspaper, it had audio in it, it had video in it, it was updated as the news went along minute by minute and you could customise it. We’ve put all the software in a box and could relaunch it now that net advertising is picking up.



Q. What will it take for India Today to go back to ABC?

We’ve given a long proposal to them in terms of what we feel they should take into account for arriving at net paid circulation. They treat magazines as newspapers. The main problem is that all these bodies have long been dominated by newspapers. That’s why we’ve formed the Association of Indian Magazines. Magazine publishers got together and said, “look, we need a different body because we have different concerns. We print on different paper, we have different issues with the government.”

The AIM is a very valid body, which will get stronger over the years.



Q. Will content be more king than ever before? Are we then reaching an era of great editors?

Content will always be king. The question is what content will consumers pay for since news is a commodity. It is not an era of great editors but an era for great experts. Exclusive valuable content is the name of the game. Then you add on the bells and whistles of interactivity and different delivery platforms. Internet is a great leveller by making information freely available. Great editors will be those who attract and retain great experts.


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Rob Norman, Global Chief Digital Officer, GroupM

<b>We need to create advertising assets that are not just compelling but "thumb-stopping" creative: Rob Norman, GroupM</b><br><br>

e4m by exchange4media Staff
Published: Aug 19, 2016 12:00 AM  | 4 min read

Addressing delegates at the International Advertising Association (IAA) Cabana, during the Cannes Lions International Festival of Creativity 2016 in a special session held by Hindustan Times, GroupM’s Global Chief Digital Officer Rob Norman stressed upon significant issues in managing supply chain in digital media.  <br><br> “Everything boils down to an interesting notion - what presents an authentic opportunity? Every advertiser, when he spends money on an impression or on any other unit of advertising has the legitimate expectation that the publisher will be one in which the advertisement is seen by a human being for at least a feasible amount of time, and not by a robot or a fraudster,” he said. <br><br>


We need to create advertising assets that are not just compelling but "thumb-stopping" creative: Rob Norman, GroupM



Addressing delegates at the International Advertising Association (IAA) Cabana, during the Cannes Lions International Festival of Creativity 2016 in a special session held by Hindustan Times, GroupM’s Global Chief Digital Officer Rob Norman stressed upon significant issues in managing supply chain in digital media.


“Everything boils down to an interesting notion - what presents an authentic opportunity? Every advertiser, when he spends money on an impression or on any other unit of advertising has the legitimate expectation that the publisher will be one in which the advertisement is seen by a human being for at least a feasible amount of time, and not by a robot or a fraudster,” he said.




What is a legitimate opportunity is not entirely a consistent notion, the speaker said, “because if you are looking at something and it is static on the screen for a given time, it is easy but if you are scrolling with your thumb at 500 pixels per second, which is often the case in feed-based environments, the mere fact that something passes through a viewable window may or may not be determined as legitimate opportunity. So working on the forward regulation and the commercial agreements around viewablility on a platform-specific basis is a huge priority for us.”


In his view, everyone in the supply chain has their own set of responsibilities. While the publisher has the responsibility of providing authentic opportunities, the advertiser has the responsibility to grow the propositions around the products and services that are of relevant value to the consumer. The creative partner, in all of this, has the responsibility of taking that proposition and making it compelling and sufficiently arresting to consume and the media agency has the responsibility of placing it in an environment that is fit for the target that it offers value. These are the fundamentals for digital advertising.


Does that require a different set of behaviour in the ecosystem between the stakeholders? While in some cases it does, he feels there are cases where it is in fairly perfect harmony. "Only by briefing (stakeholders) together can there be a harmonious implementation of the plan, and an equally harmonious attribution plan that allows you in setting an objective, defining a fit-for-purpose media placement," he said.


Touching upon the subject of ad-blocking, Norman explains that there has always been a covert contract between the publishers and users of the content - if the user does not want to pay directly for the content then he has to tolerate the amount of advertising for which he may or may not pay attention to. However, with the rise of the ad blocking software, the covert contract gets broken and the user of the ad blocking software chooses not to participate in that contract by blocking the monetization mechanism of the publisher.


In order to resolve this problem, the publisher either has to create content of sufficient value, which people will accept, with the ad blocker turned off or build a greater value by turning into a monetization model from advertisement-driven to subscriber-driven. Norman further stressed upon the need to create advertising assets that are not just compelling but “thumb-stopping” creative.


Responding to a point regarding video consumption patterns on mobiles, Norman pointed out that the lag in adoption of 4G technology has affected video consumption in various parts of the world, particularly India. Giving the context of the Indian market, Norman explained that the only app that works on the 2G platform is Facebook since it has been built fit-for-purpose by downgrading many of its features that could mar speed. Issues such as buffering of video content existed on 3G platforms as well and that 4G has been introduced only in some parts of the country.


Q.

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Arun Iyer, Chief Creative Officer, Lowe Lintas

“Go to a pitch with your point of view, not necessarily what the client wants, because at the end of the day they come to you because they want your thinking,” believes Arun Iyer, Chief Creative Officer, Lowe Lintas.

e4m by exchange4media Staff
Published: Aug 19, 2016 12:00 AM  | 8 min read
<br><br>“We don’t carry options for pitches we go with a point of view, we strongly feel about, which is also why about 80 per cent of the pitch work is actually the first piece of work that we do for a client,” he shares. <br><br>Iyer, who took on the mantle of CCO last year, was earlier joint NCD with Amer Jaleel. As CCO, he believes one of his jobs is to make sure that while today is good, the next six months are lined up well.<br><br>The agency has consistently been in the news be it for kick-starting the year with its winning performance at the Effies or its recent work on Google’s photo feature that is being widely shared.
“Go to a pitch with your point of view, not necessarily what the client wants, because at the end of the day they come to you because they want your thinking,” believes Arun Iyer, Chief Creative Officer, Lowe Lintas.


“We don’t carry options for pitches we go with a point of view, we strongly feel about, which is also why about 80 per cent of the pitch work is actually the first piece of work that we do for a client,” he shares.


Iyer, who took on the mantle of CCO last year, was earlier joint NCD with Amer Jaleel. As CCO, he believes one of his jobs is to make sure that while today is good, the next six months are lined up well.


The agency has consistently been in the news be it for kick-starting the year with its winning performance at the Effies or its recent work on Google’s photo feature that is being widely shared.

“I would like Lowe Lintas to be seen as an agency that a client would want to go to because they want a good idea on their brand which is medium agnostic,” adds Iyer. The world is headed towards ‘hyper-bundling’ (with clients are getting tired of handling multiple agencies) he believes, even as lays emphasis on getting mainstream teams to think digitally.


A candid Iyer shares his views on correcting the perception about Lowe just being a TV agency, why the move from NCD to CCO was not a dramatic one, what prompts ‘Ghar wapasi’ at Lowe, why he thinks there is a lot of ‘gas’ around ‘digital’ and more …………


Edited Excerpts-



Q. What are your expectations from Cannes for Lowe Lintas? We don’t enter from India so some of our work maybe entered from our global offices. My guess is that Lifebuoy Chamki entered by our Columbia office will do well at the awards.

Q. When you say ‘well’, it translates to Gold, Silver, Grand Prix? To be honest, I don’t understand that game too well, but I have feeling that it will be Gold.

Q. What are the changes that have been on your agenda as CCO? I am personally working very consciously towards correcting the perception about Lowe just being a TV agency. Chamki is a step in that direction, what we did for Paper Boat with ‘Hum Honge Kamyaab’ is a piece of content. Again what we have just done for Google Photos is actually content, there are many more things in the pipeline.


TV is still important and we do a lot of TV but somewhere, the world needs to start recognising that we are an agency that comes up with big ideas and that they sometimes happen to be led by TV. Even if you take for instance Tata Tea’s Power of 49, it’s actually a far bigger idea than the television commercial we created. But somehow the world still considers us only a television agency. That’s been the big shift that I have been working consciously on over the last one year.


I am not trying to change Lowe Lintas; I am trying to reach out to the world and actually tell them what we do, which is that we come up with ideas that are beyond television.


If you take Kissanpur, it is an idea that was born in our agency and the fact of the matter is that Kissanpur manifested itself in one TV commercial, and a whole bunch of forms like a huge activation idea, we have, in fact, created a great platform for the brand, and on the back of which we won global effectiveness awards.


Q. What are the challenges you face currently? The biggest challenge is to drive consistently good work. I think it’s a huge challenge because the only way to do that is to empower your people, align with the kind of stuff we need to be doing, and communicate clearly that this is the level at which we need to operate. Set a base level and let nothing drop below that - which is a continuous challenge. The only thing I worry about, fuss about and I keep telling my teams is; what’s coming up? What can we do better?


The challenge is also to continue the great creative culture that we have. To be honest, I have been really lucky, I have got really great people a really great team - the creative heads including the creative team.


Q. Do you think there is an over-emphasis on digital these days? Yes, 100 per cent, whilst digital is important because the mobile phone is transforming our country, and we cannot run away from that, but the noise around it in our industry is a lot of gas around this word ‘digital’.


Somebody needs to cut through it and get to the point of what is it that needs to be done. And that is what we are attempting to do with Linteractive’s new framework Deep Digitisation, which we have been working on since the last eight months.


We are trying to not let the clutter get to us and see how we can genuinely transform into an agency that thinks well digitally.


Q. How has this one year been for you? It has been exciting because we took the opportunity and we were confident enough to think that we can actually start another agency; it was a big call at that point of time.



The good part is that Mullen (Lintas) is doing very well and I think they are doing some nice work. This one year has been very hectic but we have managed to consistently put out work that has generated enough conversations for the agency, we have managed to put out great work, and create a culture that people want to belong to.


In fact, we have a term that people joke around in the agency called ‘Arre iski bhi Ghar waapsi hogayi’; there are so many people who have left us and who have pretty much come back soon. One of the things I am quite arrogant about is that when people go out of our system, they realise the value of our system.



Q. How has it been on an individual level? I have spent lesser time than I would have liked with my family but they have been supportive enough. I know the Mumbai Airport better than anybody in the city right now. It’s been a lot of travel but what I have absolutely enjoyed the most is, working with a lot of creative people and that number has increased a lot more now. For me, the trip in life is to actually sit and jam with creative people and come up with solutions and I have got more opportunity to do that so, it’s absolutely fantastic.

Q. You have been with Lowe since 2003, how did things change for you from NCD to CCO? I joined as a copy writer in 2003 and I have grown through the ranks.


When I became NCD in 2010, it was a dramatic shift for me. There are three levels between GCD and NCD. Balki picked me and said sit here, so I skipped three levels to run one group in the office on the 13th floor and suddenly, I was running half of Bombay, all of Bangalore and Chennai. So, that year was dramatic in my life. Since I have worked for six years as NCD, this was a smoother transition.


Q. You never wanted the option of running Mullen? That’s actually a conversation between Balki(Group Chairman of MullenLowe Lintas Group) Joe (Regional President, South & Southeast Asia, Group CEO India, Mullen Lowe Lintas ) me and Amer (Chairman & Chief Creative Officer Mullen Lintas) and it was a good three-four rounds of discussions until we came to a consensus on the structure we want. So, it wasn’t a diktat or a personal decision, we sat together and we said, okay, this is what is best to do.

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Rana Barua and Ashish Chakravarty, CEO and CCO, Contract

In a freewheeling chat, Rana Barua and Ashish Chakravarty, Contract’s CEO and CCO respectively get talking on the agency’s recent wins, which include ITC Personal Care, Century LED bulbs, Abbott Healthcare, Lupin OTC, Orient Fans, Reckitt & Colman, Garnier among others. Contract has also won the mandate for mygov.in, one of the largest mandates from the Government of India. <br><br> The duo field questions on receiving offers from other agencies, what is a compelling offer to them, taking Contract to the next level why clients are willing to wait for the agency today and more

e4m by exchange4media Staff
Published: Jun 3, 2016 12:00 AM  | 7 min read
In a freewheeling chat, Rana Barua and Ashish Chakravarty, Contract’s CEO and CCO respectively get talking on the agency’s recent wins, which include ITC Personal Care, Century LED bulbs, Abbott Healthcare, Lupin OTC, Orient Fans, Reckitt & Colman, Garnier among others. Contract has also won the mandate for mygov.in, one of the largest mandates from the Government of India.


The duo field questions on receiving offers from other agencies, what is a compelling offer to them, taking Contract to the next level why clients are willing to wait for the agency today and more

“Singularly or as a team barring two or three very obvious network agencies, everyone has made an offer at some point or the other,” says Chakravarty in a matter-of-fact manner.


Given their team work and working equation, ‘if’ they ever considered moving out, would it be as a team? Together would be an ideal scenario agrees the duo, but the offer has to be compelling enough.


And what makes a compelling offer for the duo? A compelling offer would be a large network, a solidly creative, global kind of entity coming into India, something that is a bigger challenge than what we have achieved, say both unanimously.


Barua joined Contract in 2013, Chakravarty came on board a couple of months later.


Chakravarty makes an interesting observation on one of the differences about the agency today.


Q. There were rumours that you were moving on from Contract; what is your take on that? RB: Conversations keep happening. There was never intent of either looking out or moving out, and there still isn’t. There were also a lot of non- committal meetings with people who I respect and are friends. Was there a genuine desire to move out? Not yet.

Q. When Cadbury moved gums and candy to Saatchi and Saatchi, there was a perception that the Cadbury account moved out of Contract….. RB: Cadbury’s Celebrations is the local jewel, which stays with Contract because we have built Celebrations. Celebrations was started by Contract, the relationship is that old, the brands that have moved was due to pure global re-alignment.


AC: Our relationship with Cadbury is very deeply embedded, I believe Celebrations is the only brand in the world where gifting has been successful. Our Eid film was successful not just for Celebrations but for the entire range of Cadbury products, giving it a very good spike.


Q. In an industry where agencies are judged on their creative product, how has the agency’s creative offering evolved to suit the changing brand dynamics? AC: We have instilled an entrepreneurial spirit into the system. While there are different departments, we are all in it together - it’s a business to do shining work for the client.


It is not about individual glory but how to leverage creative as a tool for acquiring business. That reflects in the way we work. We have changed the entire rules of working on a client brief; we have people from all departments on the deck solving the issue of a client using the different tools available - that’s the spirit of a start-up, that’s an e-commerce scenario where individuals are not separated by departments. To a degree, we ascribe our success both in business and in creative to this spirit that we have in Contract. It’s about solving a business problem using creative, and therefore, beneficial both for the client and business.





Q. Given the equation between you two, no power camps at Contract? RB: We work in alignment and alignment is that common goal that both of us have set for each other.


Power camp kind-of conversations are likely to happen when both take independent calls but because of our alignment, you see the same percolating down the line at least 80 per cent in the agency, which is fabulous.


AC: Since we are aligned, what is happening across the agency and departments is that people are looking out for each other; it is not one against the other. If the other person has failed and I am gaining joy out of it then something is wrong. Wherever that happens, the agency is going to get crippled. That has started to flow and it is not across departments, it’s across geographies. You know that you are winning as a team or you lose as individuals. I think that sense has gone down. It’s not magic, it’s just that you put a set of people with a common purpose and then they align over a period of time.


Q. When you took charge at Contract, your initial focus was to stabilise the ship, then you went aggressively after new business, where is the agency at now? RB: What we managed to do with Contract is to make it a far more stable ship. If you look at the number of people who came on board in 2013, including me, Ashish and many of them, including many senior people and individual talents. They have got multiple offers but have stayed together. Secondly, if you look at the number of clients that have come on board and stayed with us, it’s a massive list of people who have invested in Contract. Without naming any agency, there are so many of them that are struggling to find a footing. Our conversation with clients is about creative effectiveness, product, planning - it’s a very different conversation. So, if you ask me if the mission is over, I would say, no. There are many categories that are open to Contract, there are many clients who are talking to us, and there are many more things we can do if we want but it also matters on our bandwidth.

Q. So are you saying no to pitches/ new clients if the bandwidth doesn’t permit it? RB: In many instances clients are ready to wait for us…


AC: Our first priority is to our existing clients..


RB: If we go for a pitch we go for a win. A lot of heartache goes into pitches and a loss is demotivating for the entire team, so there is no point just going for the heck of it. Also pitches we go into today are of a certain size and scale, let me put it this way, we have been going for pitches with the top few agencies in the country.


AC: If there is an urgent requirement, we excuse ourselves if there are bandwidth issues. Also a lot of what happened and worked for us last year was when a client approached us, we showed them our work and the team who would be working on the account and asked them to work with us without a pitch, in a whole lot of cases we were able to work on numerous projects in the manner.


Q. Any reason for the silence since the last one year? RB: There are two or three reasons you talk; when you need to, when you need a lot of attention and when you need to make a conversation. Right now conversations, attention and a lot of engagement is happening on its own. Whether it’s with clients, whether it’s with people, a lot of things are happening. There is no particular reason to come out and say something which requires any kind of eyeballs for us. Our work is speaking for itself.

Q. What would be some of the focus areas for you going forward? AC: I think it would be to up the ante in some of areas like design. The other would be newer forms of engagement.

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Charles Courtier, Global CEO, MEC

MEC’s Global CEO Charles Courtier gets candid about not playing the under-cutting game, why more regular pitching is the new normal after the ‘Mediapalooza’ of 2015, take-aways from as well as focus areas for MEC India

e4m by exchange4media Staff
Published: May 20, 2016 12:00 AM  | 4 min read
MEC’s Global CEO Charles Courtier gets candid about not playing the under-cutting game, why more regular pitching is the new normal after the ‘Mediapalooza’ of 2015, take-aways from as well as focus areas for MEC India

The agency globally saw a double digital growth last year (above 10%), which in 2015 was a very good performance, feels Courtier, even as he says that it is a bit early to comment on the agency’s performance this year.



Courtier declares that the overall view around India is very optimistic and global leaders continue to have faith in India as a fast growing market, more so, because growth in China has started to slow down, making the gaze on India more pronounced. On digital, Courtier believes it is just a matter of ‘speed’ at which digital takes over the Indian market, when comparing it with global markets like the US, Europe and even China to some extent, rather than ‘when’ it will take over.



Edited excerpts from a conversation Charles Courtier had with Priyanka Mehra:


Q. Are we done and dusted with the craziness of last year's ‘Mediapalooza’ wherein an extraordinary number of big clients put their accounts up for global review at the same time? I don’t think it is done. But you are right... it was crazy, and if I were a big client, the last thing I would do now is pitch my business, because how on earth would I get the best out of any agency when they are drowning in these enormous pitches? Having said that, I think much more regular pitching is the new normal. And I don’t think it started in 2015 - I think we are quite used to pitch and re-pitch of businesses on a very regular basis and that’s going to continue. It might not be 2015 every year, but I think we will continue to see a lot of media pitches every year.

Q. What are the possible reasons for this, in your view? I think there are two key reasons. One is procurement, because companies and businesses are all under tremendous pressure, and the media number on the balance sheet is a very big one in most clients’ businesses. So, procurement is a fact of life, it is very important for these companies to get the best efficiencies and value that they can for the money they are spending. Procurement is competitive from a pricing point of view. The other side of it, to some degree, is fear in the sense that the communication business is changing so massively, that I think clients want to test if the agency has the right skillset to navigate them strategically through the chaotic, difficult and fast-changing media world driven by changing consumer preferences. Marketing is changing so fast; if you are a CMO in a big company, you know it’s hard to keep up with everything that is going around. The way the consumers are buying your goods or entertainment is changing so fast that the CMOs in that situation need to know, and they want to check that the skills they need are there.


Q. How do you deal with under-cutting, especially given the added pressure of significant global pitches and a cut-throat competitive scenario? The only way to deal with it is responsibly. We have to be competitive on price. Yes, there are situations where somebody does something crazy and you get under-cut; yes, everybody has a story of when that happened. But honestly, if you get into that game, it’s a very short-lived game; don’t think you are doing your client any favour because you can’t sustain under-cut prices. In the end, you have to be responsible in terms of pricing that you are putting forward; you have to deliver it over a long-term basis. So to answer your question, we won’t play that game.

Q. What are your focus areas for India from a global perspective? Digital is key, because I believe it is the tipping point and India is on the cusp of that. It is all about ensuring we are ahead of competition in terms of our digital and our data capability. So, absolutely that is the priority, because we can see the wave of opportunity about to come so we have to be ready for it. The business has grown fantastically over the years and has great opportunity. You have to have talent to manage that growth and also to sustain that growth. The development and diversity of talent is another key focus area; growth of talent is equal to growth of the business for us.

Q. What would you like to take from MEC India to MEC globally? India is a very entrepreneurial country. When we look at MEC here, in comparison to MEC globally, there is a real tough entrepreneurial spirit in India. And if I could take that, box it, move it and export it around the world, I would.

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Sajan RaJ Kurup, Founder & Creative Chairman, Creativeland Asia

Last year was an eventful year for Sajan Raj Kurup Founder & Creative Chairman Creativeland Asia, a visibly exhausted but spirited Kurup gets candid about why industry do’s are ‘unexciting’ for him, why staying away from Goafest has added to the agency’s culture and focus, expanding operations beyond India, Why charging a pitch fee still works for CLA, his thought process behind work for Micromax, and life after Parle Agro.

e4m by exchange4media Staff
Published: May 20, 2016 12:00 AM  | 7 min read
Last year was an eventful year for Sajan Raj Kurup Founder & Creative Chairman Creativeland Asia, a visibly exhausted but spirited Kurup gets candid about why industry do’s are ‘unexciting’ for him, why staying away from Goafest has added to the agency’s culture and focus, expanding operations beyond India, Why charging a pitch fee still works for CLA, his thought process behind work for Micromax, and life after Parle Agro.



 



Q. What is the insight behind the new logo and tagline—‘Nuts: Guts: Glory’ for Micromax? Nothing symbolizes a cultural revolution in an organization as much as a change in identity. This exercise wasn’t about redesigning a logo and writing a tagline. It was about capturing the Micromax culture. For this we studied the Micromax story of four guys taking a brave decision to risk it all and enter the devices market. We traced their journey that started evolving from the back-alleys of the mobile phone revolution in India and all the way up to the global scene. We sat and understood the personalities of the founders, their ambitions and plans. What stuck out for us was a sincere amount of audacity. So, for Micromax, we created a line that establishes the innate desire for audacious and unconventional victories. And decided to scribe it as ‘Nuts: Guts: Glory’ in an unconventional slogan of sorts.

Q. The new campaign is completely different in tonality and positioning, and definitely more aggressive, was this the brief given to the agency? The most defining characteristic of this generation is the admiration for (and a desire to emulate) the crazy and the brave. To not just win, but to win big. To make irrational decisions, and to win madly. This cultural fuel becomes meaningful for us when it connects with the Brand Ethos.


In many ways, Micromax embodies this spirit we see coursing through the veins of the nation.


Anyone who has followed Micromax closely would know that the brand has an audacious story of how it was born in the back alleys of the mobile revolution in this country and has propelled itself on to the global stage in less than a decade.


Micromax is clearly an unconventional winner brand. It is a brand that’s taken chances, fought off much larger, more reputable competitors and still managed to come out in the driver’s seat. It has a sheer bloody-minded will to succeed.




It’s brash, bold and defiant .Which is why it goes for it. It’s why it doesn’t do things in half-measures.

Q. What does the campaign aim to achieve? A large part of the campaign objective is also to break a de facto price ceiling when it comes to how the brand is perceived and to align the cultural fuel and brand ethos with the new brand philosophy of ‘Nuts: Guts: Glory’ for its next phase of growth.




Micromax’s ability to premiumize itself lies in creating more meaning around what the brand stands for, its philosophy, how it sees its story, how it sees its users and how it delivers across the entire user brand experience.

Q. Do you have any plans of expanding operations beyond India? Yes, we have already incorporated an entity in Singapore. We have been studying various strategic overseas markets for the last three years now. We have already started engaging with brands in some of these markets. Slowly but surely you will hear more about our expansions beyond India.

Q. You are now a rarity at industry do’s as well, is this a result of the over hyped loss around the Parle account or is this a conscious effort on your part to stay away from the advertising industry? The Parle Agro- CLA split affected the industry gossip mongers more than it affected Parle Agro or Creativeland. We have moved on to business as usual. People who know me have learned to ignore the over-hype or gossip. It has nothing to do with being a rarity at industry dos.


Look, I am terrible at befriending, small talk etc. And, I don’t even drink alcohol any more. So, I don’t know what to do there once I get there. Also, instinctively, I can be quite politically incorrect and blunt. So, it would be kind of dangerous and not so exciting for me to be at all these ‘industry dos’.


I am better at focusing on what I am good at and what I enjoy.

Q. What are your thoughts on the new Frooti brand campaign? I’d prefer to pass this question.

Q. CLA charges a premium, at the same time you refrain from pitching how does this work in the real world? Creativeland doesn’t undercut itself or others. More times than often, we have won mandates despite of not being the L1 on cost at the procurement desk. We believe in creating great value for our clients and ourselves. We handpick our client partners as carefully as we pick our talent. It has been almost 9 years of Creativeland and every single year we have successfully delivered on setting benchmarks in every category we have brands to work with. Over the years, we have more and more clients inviting us to pitch and paying us a pitch fee for it. Every time a potential client says, “We are very excited to have you pitch and we are very keen to see the Creativeland perspective” I know the value the decision of sticking with a pitch fee has created for Creativeland.

Q. You haven’t participated in Goafest for 4 years now, 2012 was the last time CLA participated. Will we see CLA back at Goafest? The years we participated in Goafest, we have won big in front of a full house of participants. We have won big in competition with strong organizations like Ogilvy. Especially in the film and integrated campaign categories including the integrated grand prix in 2012. But, some of us also saw some amount of ganging up against winners, lobbying and alarming levels of scam ads by agencies desperate to win. Since we have a clearly different point of view on how awards must be conducted and instituted, I decided to step away. We haven’t missed being at the fest even once. In fact, staying away has added to our culture and focus.

Q. Coming back to Micromax, is this the first campaign that CLA has worked on, for a global audience? We have had several instances in the past when our campaigns have been used in overseas market/global audience. Audi, for instance. A lot of our work was considered and used in the Asian and European markets. The work we do for a lot of brands at Godrej gets used across the SAARC countries. Even as we speak, there are a few more global initiatives Creativeland is in the midst of in Africa, EU and US, apart from Micromax of course.

Q. Is this a very different task from some of the others that Creativeland has done for brands in the past? We’ve had invaluable experience of dealing with premiumization challenges across different categories.


We successfully repositioned Cinthol from being a popular segment soap to being at the premium end of the bathing soap category, making it a youthful and gender-neutral brand in the process. We did this by telling young India “Alive is Awesome.”


We re-positioned MTS from being a lower SEC, voice-driven brand for price-sensitive customers to becoming a data-focused brand for the digital youth of today, who consume gigabytes for breakfast.


We made MTS the definitive telecom brand for “The Internet Generation”, significantly growing its ARPU in the process. While these categories may work differently from each other, there’s no denying that building a consistent, meaningful brand identity and philosophy is key to capturing the hearts and wallets of contemporary, young India today.




And as this category slides further into parity product problems, brands will need to start differentiating themselves based on personality, based on how they make consumers feel about themselves, and how consumers identify with their beliefs.

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Carter Murray, Worldwide CEO, FCB

Carter Murray, Worldwide CEO, FCB, talks about his expectations from Rohit Ohri who will don the role of Group Chairman and CEO (India) in January this year, speculations around talent moving from Dentsu to FCB. He also reacts to speculations around Satbir Singh, and talks about reasons for not wanting to make any revolutionary changes in to the agency in India. Excerpts:

e4m by exchange4media Staff
Published: Apr 30, 2016 12:00 AM  | 5 min read
Carter Murray, Worldwide CEO, FCB, talks about his expectations from Rohit Ohri who will don the role of Group Chairman and CEO (India) in January this year, speculations around talent moving from Dentsu to FCB. He also reacts to speculations around Satbir Singh, and talks about reasons for not wanting to make any revolutionary changes in to the agency in India. Excerpts:

In an interview with Priyanka Mehra, Carter Murray, Worldwide CEO, FCB, talks about his expectations from Rohit Ohri who will don the role of Group Chairman and CEO(India) in January this year, speculations around talent moving from Dentsu to FCB. He also reacts to speculations around Satbir Singh, and talks about reasons for not wanting to make any revolutionary changes in to the agency in India...

Q. Are there key areas that the industry needs to work on from a creative perspective? There is opportunity in art and design, to elevate the level of advertising. With creativity you have to take lateral leaps and I think there’s a cultural environment in which we can do that even more here.

Q. What is your reaction on the speculation regarding Satbir’s ( Satbir Singh, Chief Creative Officer, FCB) exit? This is unhealthy gossip which is being spoken about which is untrue, of course there is gossip when a large company appoints a CEO, but it is unhealthy and unfair to the people who come to work everyday, We are in a talent business and we need to treat people with respect. Satbir is a really creative guy and really respected and it is unfair that people are saying that. Rohit who is the new CEO coming on board is a grown up, a good leader and he will give everyone a chance.

As the Global CEO, I will, like for any new CEO, after 90 days, come here and ask for a plan and assessment of the team. We’ve put in place a rigorous HR so we know exactly where people are. So if he feels they’re in a different place then he will have to explain to us why. When you are in a talent business, there are checks and balances in place to make sure great people are taken care of.


Q. How are you working to ‘up’ the agency’s creative quotient in India? I have very big ambitions for FCB Ulka. With Rohit coming on-board along with some of the creative talent we have already, my challenge to them is how we can help our clients and work together with them to raise the profile of India on a global stage in the industry we are in.



Most countries have a belief, probably partially correctly that they have a rich vein of creativity and a right to be in the forefront of creativity. India is one of the few countries that has a natural birth-right for creativity and has a right to play a much bigger role on the global stage but I don’t think India does it nearly as much as it can currently.


Q. What is the mandate given to Rohit Ohri as Group Chairman and CEO? There are certain goals that I, as Global CEO look to deliver and I expect the same from all other CEOs including Rohit. One is to be able to retain and attract the very best talent in the industry. Through his leadership he needs to create a culture and ambition to attract and keep key talent.


He should have energy and passion for the creative business. Sometimes our industry follows trends, which is understandable but the core of what we do is creative work.


I am excited about Rohit coming on board because he is the right influx of talent and will give the right perspective to the team we have here and take Ulka on the next step of its journey. It is very different from a reinvention where you bring a team on board to completely change things. That’s not we have here. Here we have a successful agency and a strong culture.


Rohit is going to bring fresh energy and perspective to what is already an experienced energised team.


Q. Will we be seeing a lot of movement of talent from Dentsu to FCB? I have heard of a lot of speculation around this, but it’s untrue. Rohit needs to come onboard and see what the team is here. I assume he might want to bring one or two individuals onboard with him. Speculating on what Rohit will do is unfair to him.

Q. Which other Indian agencies do you see doing good work in your view? I think Lowe and Mcann have had a good reputation for a long time. We mainly look to our sister companies for competition. There are also one or two boutique companies that have started, from which I think more and more of the competition will come, in the future.

Q. What do you want to change on the business front in India? For this market we are not making crazy margins but we are making fair margins. I want to grow but I don’t have any revolutionary ambitions or desires. I don’t have any pressures to double the size of the margin because if I push the margin too far I’ll start to destroy the company. I want Ulka to keep its size and scale. Yes, I do want to keep growing but I want to do that by focusing on the creative talent and product. A lot of the holding companies and networks today have been pushed into putting the numbers first.

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Vikram Sakhuja, Equity Partner and Group CEO, Madison Media Group (including OOH)

“All media agencies today are gearing for change in an environment of digital, data, and technology. This is potentially changing the way we target, work seamlessly across media, deal with a connected consumer and deliver outcomes. This re-engineering, if you want to call it that, is as applicable to Madison as it is too any other agency. I hope to play my role in being a catalyst of change”

e4m by exchange4media Staff
Published: Nov 2, 2015 12:00 AM  | 5 min read
“All media agencies today are gearing for change in an environment of digital, data, and technology. This is potentially changing the way we target, work seamlessly across media, deal with a connected consumer and deliver outcomes. This re-engineering, if you want to call it that, is as applicable to Madison as it is too any other agency. I hope to play my role in being a catalyst of change”

The news of GroupM’s Vikram Sakhuja joining Sam Balsara’s Madison Media Group including OOH as Equity Partner and Group CEO took the industry by storm in April this year.
In his new role, Sakhuja will be responsible for the Media and OOH business of Madison World. He will work closely with Sam Balsara.



Interview

In a brief chat with exchange4media on his first day at Madison, Sakhuja a highly respected name in the media industry, talks about his expectations from Team Madison, his excitement on working with Sam Balsara, who he has known for over two decades now.
Sakhuja also answers the question on speculations over the possible movement of talent as well as clients from GroupM to Madison post his move, in his own inimitable way.

Excerpts:




Q. You have known Sam Balsara for over two decades now in your various roles as a client and a formidable competitor. What are the advantages of your partnership, despite the perceived difference in leadership styles? Sam is a great dealmaker with an exceptional commercial acumen, and I have a decent strategic mind with a good record of growing business and organizations. Both of us believe in client-value and we both have more than a decent network in the media marketing ecosystem. I’m excited about teaming up with someone I’ve respected and admired for over two decades. I hope for starters to rub off some of his amazing energy and spirit on to me.

Q. You have been a digital evangelist at GroupM and Maxus. What is your approach and strategy towards bolstering Madison’s digital offerings? I have just joined today, so it would be presumptuous and premature to talk of a digital strategy now. Suffice to say for now, I believe in digital being a specialism that needs to integrate into the overall plan rather than work as a silo.

Q. In a recent interview with exchange4media, Dominic Proctor (President, GroupM Global) said “Madison has a fine heritage and clearly needs to re-engineer for the future. I guess that's why they have taken him on” on your exit from GroupM and joining Madison as Equity Partner. What would you like to say about his observation on the need for Madison to re-engineer for the future? All media agencies today are gearing for change in an environment of digital, data, and technology. This is potentially changing the way we target, work seamlessly across media, deal with a connected consumer and deliver outcomes. This re-engineering, if you want to call it that, is as applicable to Madison as it is too any other agency. I hope to play my role in being a catalyst of change.

Q. What would you like to say about speculation on the possible movement of talent as well as clients from GroupM to Madison post you taking charge at Madison? If you’re trying to flatter me into thinking that my old friends might want to follow me, you are succeeding. The truth is that talent are looking for growth in four areas: exciting work, personal and career growth, an organization and leaders they can look up to, and economic wellbeing. Good organizations that focus on these normally don’t worry about flight of talent.

Q. Is building on ecommerce business also going to be an area of focus for you adding on the Snapdeal business? Agencies learn from all their clients. ecommerce is clearly a sunshine industry with great momentum. One, we can learn much from – especially the always on, real time nature of business and the link between cause and effect. That said, traditional businesses bring a huge foundation of consumer marketing skills. So short answer is that all sectors require focus, including of course, ecommerce.

Q. You recently said you might bring in to Madison the culture of setting ambitious targets and trying to achieve them, do you think the agency needs this more now with the recent loss of Mondelez (on account of a global pitch) and Airtel at earlier this year; both of which are significantly large accounts. What is your strategy towards Madison regaining lost ground and going on to new heights? The context of that comment was the difference between MNCs and local companies. MNCs of which I have been part of are more target-driven than local companies. My philosophy on targets is really one about objective setting. My conviction is that if managers are clear about deliverables, they are also smart enough to achieve them. On Madison strategy, I am hardly likely to reveal it, especially on my first day of joining.

Q. While we have covered extensively what is it that you would like to change and strengthen within Madison. What are your expectations from Team Madison? To have a passion for making a difference to our clients’ brands, and to enjoy what they do.

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