Tums targets the S&M segment

Feb192010
Bruce Hall

Now that the hype over this year’s SuperBowl ‘advertainment’

has subsided, it’s worth noting that some of the deplorable

advertising practices we see during the Big Game never really

go away. Specifically, the impulse to hurt, abuse, and

humiliate your target audience to get attention with a cheap

laugh.

The most basic, simple, truth of advertising is that in order

to change behavior (i.e., sell your product) you have to make

an emotional connection with your target. That means they

have to identify with your ad, and that identification has to

link to your brand. Making them laugh doesn’t make an

emotional connection if you’re laughing at them– just the

opposite, in fact.

Tums has a new campaign out that is an exemplar of this Three

Stooges school of bad advertising. Heartburn is painful,

right? And food causes the pain, right? So let’s have a guy

who’s being beaten to death by his spicy chicken wing. That

will make you think about pain, and Tums. Bet the Powerpoint

for that creative presentation was a piece of cake to write.

YouTube Preview Image

But if I’m the target for this ad, who am I supposed to

identify with? If it’s the guy in the ad (and who else could

it be?) the neurons that cause me to feel empathy with the

feelings of others are way off the charts on the negative

side. My face hurts, it’s covered with greasy sauce, and I’m

feeling humiliated as my friends stare at me because I’m a

helpless doofus.

Since I haven’t seen the brief for this campaign, maybe I’m

all wrong about the target. Maybe the target is the S&M

segment, not heartburn sufferers.

But I doubt it. And I doubt if this will sell very much Tums.

By the way, there actually was one really great SB ad.  Check out the one Google did.

Foiled Again

Aug312009
Bruce Hall

Another nasty blow for traditional question-and-answer research to find out what consumers think about aesthetic materials. From an ingenious experiment reported in the Journal of Experimental Social Psychology, we learn that:
“Two experiments examined whether appreciating art verbally would aesthetically confuse viewers. Participants were asked to verbalize why they either liked or disliked two different kinds of paintings; one piece was representational, the other piece was abstract. Those who verbalized their reasons for liking the artworks were more likely to prefer the representational painting, whereas those who verbalized their reasons for disliking the paintings were also more likely to dislike the representational painting. While it was easy to describe reasons for both liking and disliking representational art, the same proved difficult for abstract art. The findings suggest that due to its figurative qualities people will be encouraged to generate reasons to describe representational art, rather than abstract art, and that these reasons could potentially be biased and cause them to change their preferences in line with these reasons.”

This study was about fine art, but it applies to advertising and design, as well.  To interpret, the more representational (i.e. ‘left-brained’) an ad may be, the more reasons respondents will find to like it. The more abstract (i.e., ‘right-brained’) the fewer reasons they’ll find to like it. Ads that are abstract and emotional are fighting an uphill battle in focus groups and surveys when they’re pitted against ads that are literal and logical.

Sit up and listen

Aug192009
Bruce Hall

We always think about reach, frequency, and cost per

impression when we evaluate media choices for an ad we want to

place. But we rarely if ever integrate the message with not

where, but how, the target audience receives it.

Research on how the body position of the recipient of a

message affects how they react to the message now shows that

both the ‘how’ and the ‘where’ matter. (Harmon-Jones, E., &

Peterson, C. K. (in press). Supine Body Position Reduces

Neural Response to Anger Evocation. Psychological Science)

Researchers found that when respondents were in a reclining

position, they were less likely to react by demonstrating

approach motivation, or the urge to move toward something.

Approach motivation is closely linked to positive activation.

Since this positive activation of emotion is what we usually

seek to elicit in advertising messages, that turns out to be

an important finding. If the viewer or listener is in a

reclining position, they are less likely to experience

positive approach motivation (defined as joy that urges one to

move toward the source of the joy).

The obvious issue here is television watching. Print ads,

radio, and interactive media are much more likely to be

accessed from a sitting position, compared to television (at

least that’s my assumption, there doesn’t seem to be much data

on that.) So the richness of television’s multimedia

experience may be working against the “LaZBoy factor”.

So how do we get the audience to sit up and listen? Maybe

with DRTV we need to get people to sit up with a free

sweepstakes offer or something, to increase their approach

motivation for the real offer.

And how about you? Do you sit up when you watch TV, or are you

lying down ignoring all those expensive ads we run?
recliner2

Mental Subtraction and the Whopper

Jul232009
Bruce Hall

Stimulating a strong emotional response on the part of the

viewer of an ad is critical if the ad is to be effective in

driving behavior. But that doesn’t necessarily tell us how to

create that emotional response from an ad. It just tells us we

want one.

Last week at our internal Lunch ‘n Learn, where we talked

about creative work, we looked at tv ads that had received

recognition in the business,and looked at how emotion worked

in those ads. Two of the most famous, and most-acclaimed,

were the original “Got Milk” ad, and the more-recent “Whopper

Freakout”. Both shared a common theme, taking away the brand

from the consumer rather than sharing it with him. I

suggested that the use of the counter-factual, absence rather

than presence of something, might have added emotional power.

It requires imagination, which can be a more powerful stimulus

than observation.

A new study in the Journal of Personality and Social

Psychology now provides some solid data to support that

interpretation. For years happiness researchers have done

studies showing that acts of gratitude, such as writing notes

of appreciation, can have a significant positive effect on

individuals’ life satisfaction and happiness. Now the power

of the counter-factual has also been established. As described

in Mind Matters:

“The researchers show that people prompted to write about how

a positive event may not have happened experience a greater

uptick in mood than those prompted to describe the positive

event.”

In other words, feeling appreciation for a relationship you

have may not make you feel as good as imagining what your life

might have been like if you had never met the person.

If this trick of mental subtraction (What if I’d never met my

husband?) works for relationships, it seems logical that it

works for other things too (What if I couldn’t get a Whopper?)

Phineas in the news

Jul172009
Bruce Hall

phineas-gage

From the blog of the British Psychological Society, comes the news that:

“A pair of photograph collectors in Maryland, USA, have uncovered what they believe to be the first and only ever photographic record of Phineas Gage -”.

We on the other hand, have the first and only bronze bust of the skull of Phineas, with tamping rod in situ.
If you’re interested, here’s the link.

Emotions in Business

Jul72009
Bruce Hall

Interesting question on the LinkedIn Consumer Insights discussion group today: “How do you do a better job of giving clients an emotional reason to retain you?”
Here are my thoughts on it:
We need to be clear on what we really mean by emotion. The emotional bond a client feels toward an agency isn’t the emotional bond you have with your girlfriend. They may not even think of it as emotion, because it feels rational: it’s the confidence and trust they have that you’re going to solve their problems. It might be ROI, but more likely it’s guiding them to the right ideas, making things happen for them as marketers.

That might not seem like an emotion, but ultimately as a client, if you save my butt and my job, that’s a huge emotion. If you give me a crystal vase for the holidays, and buy me Super Bowl tickets, and tell me I’m wonderful, those are emotional reasons too. But they’ll never rise to the level of those big, butt-saving emotional moments.

Of course, it’s a lot easier to snag a pair of tickets, so do what you can.

Focus Group for Socks

Jun252009
Billy Barnes
http://www.vimeo.com/5324631

We don’t usually like focus groups here at HM&P, but this one was different. While pitching a sock manufacturer, we got a little group together and asked a few questions. Very insightful.

Proust, Escoffier, HM&P

Jun242009
Bruce Hall

The intuitions of artists never get the respect as truth realized that scientists get when they find ‘truth’ in the lab. On the other hand, it’s the rare scientist that brings home a Damien-Hirst-style paycheck. They probably both trump advertising, but us ad folks are always working somewhere at the point where art meets science.

Art and science rarely meet as completely as in Jonah Lehrer’s first book, “Proust Was a Neuroscientist”, which is an absolute must-read for anyone who wants to understand the brain, emotions, and what it all means for advertising. The connection he makes between the fundamental truths of what great artists take from their own brains, and the science that has validated those truths is absolutely spell-binding. If you want to understand how to change the way people smell, feel, and taste the world– which is to say, if you’re one of us adfolk, you must read this book.

And while you’re at it, don’t miss his blog, either. Probably even more worthwhile than keeping up with Ashton Kutcher on Twitter.

Mirror Neurons

Jun222009
Bruce Hall

Anyone interested in how emotions work in advertising needs to know about about mirror neurons. Mirror neurons have been in the news a lot the past few years, if you keep up with the science columns in places like the New York Times, or the Wall Street Journal, but surprisingly few people in the advertising world have been paying attention.

That’s too bad, because it’s probably one of the areas of science that is most likely to revolutionize how we understand advertising. Understanding mirror neurons will save us from a lot of bad mistakes. Hopefully.

Now you don’t need to troll the blogs and science columns to understand mirror neurons. Marco Iacoboni, one of the lead researchers in the field, has written a wonderful book that will tell you much more than I can about how they work and why they’re important. As he puts it, mirror neurons are the mechanism for empathy. They are the proof that “We are hard-wired to feel what others experience as if it were happening to us.”

Think about that next time you see someone experiencing pain in an ad. The Super Bowl ad with Justin Timberlake may have gotten a lot of buzz, but if you read this book, you’ll realize that it also hurt a lot of groins.

Emotions and the Eye

Jun192009
Bruce Hall

We’re all so steeped in the engineering paradigm for how our

brains and bodies work, that scientific findings like this

come as a surprise even though they shouldn’t. Our emotional

brains aren’t part of a computer system where vision, feelings,

heat and pain all run on different circuits. It’s all one big

system wrapped around itself. Via the blog Neurophilosophy, we

learn of a study by Canadian researchers that:

“provides the first direct evidence that the mood we are in

affects the way we see things by modulating the activity of

the visual cortex. Their findings show that putting on the

proverbial rose-tinted glasses of a good mood is not so much

about colour, but about the broadness of the view.”

They showed that influencing someone to be in a better mood,

by showing them faces of happy vs. sad faces, actually

improved their peripheral vision. The effect happened without

a negative cost to the information received in the central

vision field.

The message for us folks in advertising is clear. If you want

people to pay attention to what you’re saying, explosions and

loud noises may be exactly the wrong road to follow. Warm

them up and mellow them out first, and they’ll pay more

attention to what you show them.