Brands Need to Know Their Purpose and What They Aspire to Be This is the new era of kinship By Abbie Walker

• February 24, 2014, 10:17 PM EST
• Advertising & Branding

Kinship is everywhere. It’s empathy in action: a hug, a comforting word, the backbone of a friendship. Kinship is fundamentally selfless, intrinsically rewarding, a vital and extremely human part of being, well, a human being. 

Illustration: Vahram Muradyan

Kinship requires work, and while people inherently are driven by it, brands are not individuals and often do a poor job evoking similar feelings. Consumers have been skeptical of today’s brands’ intentions for some time now, and so is it any wonder they have such a hard time earning trust?

Martin Weigel, planning director at Wieden + Kennedy Amsterdam, rightly said we have become prisoners of a metaphor, and as we’ve suspended reality for our metaphors, our brands ask consumers for what a person expects from his or her friends—loyalty, trust, attention, love, time—without putting in the reciprocally requisite work. In other words, brands need to reconsider their motivations and behaviors because no one is buying the be-our-friend act any longer.

One problem is the mistaken notion that advertising shapes culture. Rather, advertising has always been a mirror that reflects changes in culture, politics and industry. In the Era of Logic—the ’50s and ’60s—there was a scarcity of information, so products earned markets based on clearly stated attributes. Winning brands made whites whiter, fed families more easily and vacuumed hard-to-reach places.

Market saturation and mass media shifted us to the Era of Emotion. Prompted by booms of products and prosperity, conspicuous consumption kicked into high gear, and logic wasn’t enough. Your product had to make a prospective buyer feel something. A car was freedom on four wheels, jeans made you rebellious. This ego-driven style persists today, but it’s worn thin—its promises turned to platitudes, its emotion drowned in a sea of indistinguishable metaphors.

Let’s consider the world in front of us: massive amounts of products and information a mere finger’s touch away. This could be a truly exhilarating landscape for brands and marketers. The bad news, however, is that brands are still working with the dated tools from the Era of Emotion.

Most brands are looking at behavior but don’t question whether people’s internal motivations have changed. Spoiler: They have. Fragmentation of media and the power to the public collective, for example, are behavioral outcomes of deeper truths. Find those truths, and you transcend the “like us on Facebook” noise.

So what’s motivating people? What thoughts are keeping people up at night? Our access to endless information and socialization has given new life to age-old questions. Why am I here? What impact do I want to have on the people around me?”

Our success doesn’t lie in becoming more interesting or disruptive. What we need is purpose and to help people realize their purpose. To know your purpose as a brand is to know who you, as the brand, aspire to be. This defines your subsequent behavior inside the company, in your products, and ultimately how you impact the world. It’s the “why” your brand exists. Consider a few well-known, proven examples. Pampers helps parents care for their babies and helps toddlers’ development. Amazon enables freedom of choice, exploration and discovery. Red Bull energizes the world. Notice the commonality: Purpose transcends business and product (the what) and delivers on human principles (the why).

The “why” gives businesses and brands focus, a valued role to play in modern life and a depth that resonates with people. If you commit to a purpose that will truly benefit the world in some way, you are on your way to defining your brand’s role in people’s lives, and the way you communicate with them. It is within this dialogue between brand and consumer that we can find solutions, innovate and challenge the status quo. Ultimately, we can inspire others—our kin—to find their purpose.

Let’s shed the chains of our metaphors in this new Era of Kinship. It’s not people who need to do the heavy lifting—it’s our brands and us. Like a good friend, we have to help others find purpose and to give selflessly, empathetically and meaningfully.

This Subaru R/C Car Vs. Stick Bomb Race is the Ultimate Toy Car Fantasy

http://www.digitaltrends.com/photography/wrx-sti-stickbomb-video/#!A4YE5

Jaguar Taps Gawker Ad Division for Help in Creating 'Evil' Super Bowl Ad

 Blog network joins forces with agencies Spark 44, Mindshare on campaign By David Griner

• January 6, 2014, 10:27 AM EST
• Advertising & Branding

It's 'Good to Be Bad' in Jaguar's first Super Bowl commercial.

When Jaguar needed help learning how to be evil, there was only one logical place to turn: Gawker.

The famously acerbic blog network has been working with brands for years through its Studio@Gawker advertorial division, but this time the stakes were so large, a Bond villain would be envious. Gawker was being asked to prepare the digital lead-up to Jaguar's first Super Bowl ad, an ode to malicious megalomania themed "Good to Be Bad."

"The goal was to celebrate the dark brilliance of the villainous mind," said James Del, executive director of Studio@Gawker. "Villains are typically only written in a way that they're a foil for the protagonist, but the story's always been told from the perspective of the protagonist."

After creating the rough idea for "Good to Be Bad," Jaguar's creative agency, Spark 44, and media agency, Mindshare, realized that they would need another partner, one that could create a level of digital depth that would justify the brand's steep investment in a Super Bowl debut. The call went out to Gawker.

"It was kind of a dream scenario from our perspective," Del said. "Jaguar's media agency had approached us about potentially doing something big and different and based around content, so they sent us their creative brief."

Hunkering down like a comic book cabal bent on destroying Batman, the team of agencies and Gawker content strategists found a unifying hook that could bring the "Good to Be Bad" creative theme to life: Celebrate the villains.

The best evil geniuses always seem to have British accents, which seemed like a good enough brand connection for the iconic U.K. auto brand to own the idea of resplendent badness.

"It's their first shot at a Super Bowl ad," Del said. "They're a British company, obviously, so there was some discussion on our end about how do you represent something so British in something so American."

Being British wasn't the only strategic reason for Jaguar to revel in villainy, though. The creatives also noted how pop culture has tilted in recent years not just toward the anti-hero, but all the way to rooting for criminal masterminds.

"There's a real complexity now, and I credit shows like The Sopranos, The Wire and Breaking Bad," Del said. "It's no longer like the '60s shows where the bad guy is just doing bad things and you don't know why."

So once the Super Bowl ad concept was set—and teased through a spot placed in NFL games and on BBC America last November—Studio@Gawker's work truly began. The site network's content creators launched a blog for Good to Be Bad and began posting regularly about mildly devious life hacks like "How to comport yourself like a proper villain at holiday parties" (drink but don't eat, ignore co-workers and leave early after making an impression) and "How to wear a scarf like a proper villain" (wrapped around your neck and then tied in a low knot at the top of the chest).

The posts rack up roughly 5,000 to 35,000 impressions each, thanks almost exclusively to Gawker's ability to share the posts as sponsored content on any of its blogs through the network's proprietary Kinja publishing platform. "It's really easy for us to write a story on Good to Be Bad and then make it appear on the Gawker homepage or the Deadspin homepage," Del said.

Of course, pushing out branded content to your own editorial audiences can be a gamble. Bad content could spark backlash among readers and site editors alike, a fact of which Del's team is keenly aware.

"It's terrifying, but it's also really exciting. There's this misconception that advertising content just needs to be bad and interruptive, that it basically needs to surround the content that people actually want to consume," Del said. "Our position is that advertising doesn't have to be bad. It can be good. It can be interesting."

The real test for Studio@Gawker's role with Jaguar will be the reception of the team's original content, such as its "choir boys" stunt in mid-December, when a group of Victorian-dressed youths sang "I Fought the Law" in spontaneous performances around Manhattan. While not a viral sensation, the clip generated a respectable 72,000 YouTube views and 34,000 blog-page views.

The campaign will also feature digital projections on building facades in New York, Chicago and Los Angeles, and Jaguar will also have a presence at the Consumer Electronics Show being held this week in Las Vegas.

Since the Super Bowl itself will be most viewers' first exposure to the Good to Be Bad concept, Studio@Gawker plans to continue posting digital content for weeks after the game. However, the content calendar is not written in stone. Del said his team would watch to see how long audiences remain interested and then scale back the content creation if interest in the campaign begins to wane.

"A month, five months, a year, five years … it really depends on the reception to Good to Be Bad," Del said. "You just have to be ready for whatever the audience wants, just like in publishing. Don't stay on a story if no one cares about that story anymore. Just move on to the next story."

http://www.adweek.com/news/advertising-branding/jaguar-taps-gawker-ad-division-help-creating-evil-super-bowl-ad-154749

세계에서 가장 아름다운 직육면체
현대자동차 Brilliant cube를 소개합니다!

http://blog.hyundai.com/frontoffice/html/blogview.aspx?category=27&pidx=1655&page=1

하루 100만 명에 가까운 많은 사람들이 오고 가는 강남역, 최근 이곳에서 예술과 최첨단 디지털 기술이 결합된 이색 조형물을 만날 수 있습니다. 바로 현대자동차가 추구하는 모던 프리미엄 이미지를 형상화하여 제작한 브릴리언트 큐브(Brilliant cube)입니다.

< 브릴리언트 큐브 티저 영상 >

브릴리언트 큐브를 만나보시기 전에 먼저 보셔야 하는 영상이 있습니다. 바로 브릴리언트 큐브가 강남역에 모습을 드러내기 전 먼저 공개된 티저 영상인데요. “거침없는 자유의 몸짓, 세상에서 가장 놀라운 빛을 만난다”라는 카피와 함께 유니크하고 개성 넘치는 댄서들이 등장해 눈길을 사로잡았습니다. 영상 마지막 부분에 강남역 11번 출구, 강남역 M-stage라는 장소와 큐브의 모습이 살짝 비춰지면서 브릴리언트 큐브의 등장을 암시하고 있습니다.

현대자동차는 글로벌 브랜드 캠페인 live brilliant 아트마케팅의 일환으로 예술에 첨단 기술을 접목시킨 브릴리언트 큐브를 탄생시켰는데요. 예전부터 새로운 유행을 선도하는 문화의 중심지로 각광받아 온 강남역 한복판에 현대자동차 브릴리언트 큐브가 등장한 것은 남다른 의미를 지니고 있습니다. 과거에는 뉴욕제과와 타워레코드, 현재는 지오다노와 CGV를 필두로, 강남역하면 떠오르는 곳이 정해져 있었지만, 이제 그 반열에 현대자동차 브릴리언트 큐브가 가세해 상징적인 명소이자 랜드마크로서 급부상하게 됩니다.

현대자동차가 선보인 최첨단 디지털 조형물 브릴리언트 큐브는 어떤 새로운 차원의 아트마케팅을 펼쳐나가게 될까요? 브릴리언트 큐브의 모든 것을 지금부터 하나하나 살펴보도록 하겠습니다. ^^

지난 2일 밤 8시, 수많은 사람들이 오가는 강남역 11번 출구 앞 엠 스테이지에 모습을 드러낸 브릴리언트 큐브는 주변을 압도하는 존재감으로 첫 선을 보였습니다. 강화 유리와 철골 구조로 이루어진 가로와 세로 각각 6m, 높이 4.5m의 크기를 자랑하는 이 미디어 아트 조형물의 내부에는 LED 모듈을 장착한 729개의 폴이 직선운동을 하며 3차원의 입체적이면서 역동적인 이미지와 영상을 구현했는데요.

이 날 브릴리언트 큐브의 탄생을 알리는 제막행사가 개최되었고, 오프닝 세리머니는 “Garden in the city”라는 이름으로 꾸며져 감성 피아니스트 이루마, R&B요정 박정현, 10cm 등 국내 최고의 뮤지션들이 한달음에 달려와 브릴리언트 큐브와 함께 무대를 화려하게 빛내 주었습니다. 브릴리언트 큐브에서 뿜어져 나오는 빛의 향연과 함께 어우러진 무대는 그 어떤 이벤트보다 화려하고 열정적인 퍼포먼스가 돋보인 멋진 스테이지로 완성되어 도심 속 빛나는 순간을 경험할 수 있는 특별한 기회를 제공했습니다.

브릴리언트 큐브는 최근 예술계에서 주목 받고 있는 키네틱 아트(Kinetic Art: 움직임을 중시하거나 주요소로 하는 예술작품)를 소재로 현대자동차의 브랜드 메시지를 투영하여 국내외 유명 아티스트의 영상 작품을 반영한 조형물입니다. 세계적으로 명성을 얻고 있는 미디어 아티스트 목진요 작가의 제작 지휘 아래 본인의 작품뿐만 아니라 유시 엔제스레바(Jussi Angesleva), 알바로 카시넬리(Alvaro Cassinelli) 등의 해외 작가들의 협업을 더해 브릴리언트 모멘트라는 영상을 제작했고, 이렇게 브랜드 메시지가 각인된 작품을 시연하여 강남역을 찾은 수많은 사람들이 최고의 작품을 감상하며 현대자동차가 알리고자 하는 브랜드 이미지를 경험하도록 했습니다.

현대자동차는 브릴리언트 큐브를 단순한 감상용 조형물로 설치한 것이 아닙니다. 브릴리언트 큐브가 설치된 공간은 디지털 이미지와 감성적인 예술이 어우러져 조화를 이루는 도심 속의 문화체험 공간으로 조성할 계획을 가지고 있으며 이를 위해서 매월 1회 브릴리언트 큐브와 어우러질 수 있는 문화 콘서트 및 미디어아트 퍼포먼스 등 풍성한 문화 콘텐츠를 선보일 예정입니다. 또한 대중들에게 다소 생소한 미디어 아트 분야를 적극 지원하고 향후 브릴리언트 큐브에 유망 작가들의 작품을 설치해 문화 예술 분야의 발전에도 크게 기여할 포부를 가지고 있습니다. ^^

다양한 스토리를 역동적인 빛의 움직임으로 표현하는 브릴리언트 큐브는 대한민국을 대표하는 예술작품이자 랜드마크로 자리매김하게 될 것이라 확신합니다.

앞으로도 현대자동차는 브릴리언트 큐브와 같은 독특하고 수준 높은 예술 작품과의 아트 마케팅을 선보여 현대자동차 고객에게 빛나는 경험을 전달하고 즐거움과 놀라움이 가득한 따뜻한 감성 소통을 지속할 것을 약속 드리겠습니다. ^^

The CW Gets Social With Ford

http://www.adweek.com/news/advertising-branding/cw-gets-social-ford-152858

In what the network is characterizing as its most ambitious co-branded marketing campaign to date, the CW and Ford have teamed up on a cross-platform initiative that will give viewers a sneak peek at a roster of new and returning series.

Rolling out Thursday (Oct. 3), the campaign incorporates elements from Ford’s social engagement effort (“Fiesta Movement: A Social Remix”). Per terms of the partnership, five specially selected “agents”—the automaker’s term for young brand ambassadors who also happen to be social butterflies—will introduce the 2014 Ford Fiesta to fans of the freshman dramas Reign and The Originals, as well as CW tent poles The Vampire Diaries, Arrow and Hart of Dixie.

Each agent will be charged with carrying on a mission for one of the aforementioned series. For example, one socially aflutter ambassador will explore the crypts and mausoleums of a renowned New Orleans cemetery alongside The Originals actress Daniella Pineda (Sophie), while another agent will be styled for a Reign-themed photoshoot with Caitlin Stasey (Kenna).

The missions will then be boiled down to 60-second spots that will air during the CW’s season premieres and on the network’s Web site. The segments will be introduced by Candice Accola, who plays Caroline Forbes on the CW’s top-rated series, The Vampire Diaries. 

The executions also translate to the printed page. Two full-page ads (one for Arrow, one for Reign) will appear in this week’s US Weekly, two will run in Entertainment Weekly (Vampire Diaries, Originals), and a Hart of Dixie ad will pop up in People StyleWatch.

The Vampire Diaries print ad features an electric-blue Fiesta and agent Lisa Schwartz, a Century City resident whose YouTube account has north of 621,000 subscribers. The creative talks up the Fiesta’s advanced technology and fuel economy (41 Highway MPG) and includes a tune-in for the show.

According to Barbra Robin, the CW’s svp of integrated marketing, the Fiesta agents have 2 million followers between them. “For a campaign of this size, we thought the social space would be the best place to start,” Robin said. “The agents are socially active viewers who fit our demo and are huge, passionate fans of our shows.”

The initiative coincides with the official launch of the CW’s fall broadcast season. At 8 p.m., The Vampire Diaries will kick off its fifth season ahead of the premiere of The Originals. (The spinoff moves to its regular Tuesday 8 p.m. time slot on Oct. 8, clearing the way for the Oct. 17 series premiere of Reign.)

Not only does the campaign talk up the Ford Fiesta in the lingua franca of the CW demo, but it also offers fans a behind-the-scenes look at the new and returning series. Naturally, the social-media element is pivotal to the entire initiative; although both shows have yet to premiere, The Originals already boasts more than 110,000 Twitter followers and Reign has passed the 50,000 “likes” mark on Facebook.

There is also a decidedly exclusive element to the partnership, as the new Fiesta will appear on no other broadcast outlet over the course of the campaign. “From an on-air standpoint, this is their ad campaign,” Robin said.

A favorite among young female drivers—the 1.0 EcoBoost was recently named theWomen’s World Car of the Year—the Ford Fiesta has been a long-standing partner of The Vampire Diaries. In Season 2, Accola’s character drives a black 2011 model.

“This is one of the biggest launch partnerships we’ve done,” Robin said. “While it may not be reflected in terms of media dollars (with 10 hours of programming, we only have so much promo time), it’s definitely a huge media commitment.”

Honda Warns Snack Brands on Twitter About the Odyseey's In-Car Vacuum Cleaner

http://www.adweek.com/adfreak/honda-warns-snack-brands-twitter-about-odysseys-car-vacuum-cleaner-152830

Perhaps you've seen RPA's new TV spots for the Honda Odyssey, which has the world's first in-car vacuum cleaner. The ads, voiced by Neil Patrick Harris and Rainn Wilson, feature junk on the minivan's floor—crayons, candy, lint balls, tiny toys—chatting obliviously before getting sucked up by the vacuum.

On Tuesday, RPA launched a social element, in which @Honda is tweeting at snack and toy brands, warning them about what's in store if they fall on the floor of an Odyssey. The idea is fun, and the tweets are generally decent—but the added bonus is that many of the brands are responding or retweeting, extending the reach of the communications beyond Honda's 176,000 followers. Well, OK, there have been snarky replies, too.

Check out some of the tweets below, along with the TV spots.

Chevrolet Ranked 89 Top Global Brand by Interbrand

Read more here: http://www.interbrand.com/en/best-global-brands/2013/Chevrolet

http://www.interbrand.com/en/best-global-brands/2013/articles-and-interviews/chevrolet-alan-batey.aspx

Shifting Gears: How Consumers are Steering Auto Brands’ Future


By Michel Gabriel and Andrew Martschenko

Automakers are grappling with the mobility needs of tomorrow, changing their strategies according to customer needs worldwide. Consumers want value for money at all price points, with traditional notions of ownership evolving. High- growth markets still value the vehicle as a status symbol with many of these car buyers participating for the very first time. In more mature markets, the growth in actual miles driven per person is declining and alternatives such as car-sharing options and the adoption of more flexible models are prevalent.

These trends are industrywide. Urban youths across markets are seeking car-sharing options. Customization, innovation, and sustainability are key, along with in-car connectivity and smart features. The auto sector is evolving, weighing tech must-haves versus nice-to-haves. Many global automakers are now embedding technologies that would have launched with their premium brands first but have opted to directly offer in their high-volume vehicles. Other considerations shaping auto brands’ outlook:

Shifting populations

The recent influx of people into big cities has compelled brand owners to take urban mobility concepts seriously. Demographic trends such as the “down-aging” of older but more active and plugged-in consumers are forcing brands to ask themselves: How can brands actively connect with the younger end of the spectrum while remaining desirable for the youthful older generation?

The evolution of luxury

Consumption is changing, too, as quality of life begins to outweigh (in some markets) status and luxury. On the one hand, there’s a desire for the exceptional and the exclusive; on the other, a disdain for excess and waste. As time spent enjoying the sensual pleasures of the driving experience becomes a luxury in and of itself, car brands must address the diverging needs of consumers, especially those truly seeking the luxury automotive experience—not to mention luxury car buyers in fast-moving markets. Everything must be re-evaluated—the choice/purchase process, the range of services offered, supply chain and sustainability metrics, partnerships, managing the brand experience, and digital and social marketing.

A new kind of brand leader

The successful auto brand leader must inspire employees, sales partners, manufacturers, partners, stakeholders—and, of course, customers. The automobile industry is undergoing a transformation, and the CEO and the CMO must point to the horizon in 2023. That’s where the opportunities lie, and it’s also where the greatest rewards will be reaped. That is where each brand must go to ensure it stays relevant in its sector.

http://www.interbrand.com/en/best-global-brands/2013/sector-overviews/auto-2013.aspx

Chevrolet Motorspots TV Spot "Race Track"

Aired on 24 September 2013 nationally on ESPN 2 (US) during MLB Baseball.

Claire Danes' Choice -- Audi Smart Performer video

Ad of the Day: Volkswagen Breaks Out No. 2 Pencil for Great Homage to A-ha's 'Take on Me'

Today in semi-obscure but fantastic source material for ads: A-ha's famous video for"Take on Me" has inspired the fun new Volkswagen spot below by Deutsch L.A.

The VW spot, directed by David Shane, whose résumé includes Bud Light's "Swear Jar," is a combination of stills, animated sequences and live action, just like the original video. And like the original, it was rotoscoped—meaning they filmed the actors and the cars and then animated the results.

The automaker must have figured enough of the target market was soaking up MTV in the mid-1980s to make this worthwhile. The original video, directed by Steve Barron, made the song famous rather than the other way around—the track was released three times before finally hitting No. 1 on the Billboard Hot 100 in October 1985, a year after it was recorded. The video won six prizes at the 1986 MTV Video Music Awards but was beaten out for Video of the Year by another Barron production—the video for "Money for Nothing" by Dire Straits.

The end of the VW spot is amusing, and true to life: As Rolling Stone has noted, "Take on Me" does indeed have "one of the hardest-to-sing choruses in pop history."

CREDITS
Client: Volkswagen of America
Interim Chief Marketing Officer: Wayne Brannon
VP, Marketing: Kevin Mayer
GM, Marketing Communications: Justin Osborne
Advertising Manager: Jeff Sayen
Advertising Specialist: Chanel Arola

Spot: "Feeling Carefree"

Agency: Deutsch, Los Angeles
Executive Creative Director: Michael Kadin
Group Creative Director: Matt Ian
Creative Director: Mark Peters
Associate Creative Director: Ryan Scott
Director of Integrated Production: Vic Palumbo
Director of Content Production: Victoria Guenier
Executive Integrated Producer: Jim Haight

Production Company: O Positive
Director: David Shane
Executive Producer: Marc Grill
Line Producer: Ken Licata

Editorial Company:
Union Editorial
Editor: Jim Haygood
Assistant Editor: Dylan Firshein
Executive Producer: Michael Raimondi
Producer: Joe Ross

Post Facility: Company 3
Colorist: Beau Leon

Animation/Visual Effects Company: Passion Pictures
Head of Production: Anna Lord
Executive Producer: Alex Webster
Producer: Matt Saxton
Director: John Roberston

Music/Composer: "Take On Me"
Performed by a-ha
Courtesy of Warner Bros. Records Inc. & Sony/ATV Music Publishing
By arrangement with Warner Music Group Commercial Licensing & Sony/ATV Commercial Music Group

Audio Post: Lime
Mixer: Mark Meyuhas
Assistant: Matt Miller
Producer: Jessica Locke

Additional Deutsch Credits:
Chief Executive Officer: Mike Sheldon
Account Management Credits:
Group Account Director: Tom Else
Account Director: Monica Jungbeck
Account Supervisor: Alex Gross
Account Executive: Tara Poosti
Assistant Account Executive: Mary Cherwien
Product Specialist: Eddie Chae
Account Planners:
Chief Strategic Officer: Jeffrey Blish
Group Planning Director: Susie Lyons
Legal/Broadcast:
Director of Integrated Business Affairs: Abilino Guillermo
Group Director Integrated Business Affairs: Gabriela Farias
Director or Broadcast Traffic: Carie Bonillo
Broadcast Traffic Manager: Courtney Tylka

GMC US nominated for Wanamaker Place Awards - Branded Entertainment Campaign

Click here to view (and vote!): http://www.adweek.com/wanamakerplaceawards#pane-ent

Land Rover Unveils Huge TV and Digital Push
Vehicle's Print Ads are Interactive 

http://www.adweek.com/news/technology/land-rover-unveils-huge-tv-and-digital-push-152181

Land Rover is launching a considerable integrated campaign this week for its 2014 Range Rover Sport that entails inspiration-minded TV spots, an interactive game called "Race the Sun" and iAds, among other elements. All told, per the brand, the effort—dubbed "Driven To Another Level"—represents the automaker's biggest push ever.

The commercials feature very little copy, letting the viewers focus on breathtaking shots as a Range Rover Sport climbs Pikes Peak. A :30 will debut on broadcast and cable this week, while :60 and :90 versions will appear online. Sister agencies Y&R and Wunderman created the spots, while Mindshare handled the media buying.

"The innovation in the TV spot lies in its story line," said Kim McCullough, Land Rover's North America brand vp. "The spot re-creates the real-life feat that Range Rover Sportachieved when it set the world record for a production-standard [SUV] on the Pikes Peak International Hill Climb course earlier this summer."

In terms of TV, the Range Rover will be featured in branded content on weeks-old Fox Sports 1. The programs will entail two drivers competing in all-terrain contests while commandeering a Range Rover Sport.

The aforementioned Race the Sun game will go live in the next week or so. Accessible via mobile or desktop, the game virtually puts the viewer in the vehicle's driver's seat while experiencing five driving scenarios. Components involve testing different speeds, agility, off-road handling and abilities to check out the vehicle's interior and exterior features.

The Britain-based brand's iAd promos will run on mobile sites for major publishers such as The New York Times, while letting people who click through watch videos and customize a Range Rover Sport. And Web banners appearing on sites such as ESPN.com let viewers virtually steer the vehicle as it weaves through scenic landscapes. Also, Land Rover will sponsor infographics on Slate, appear in ads via The Washington Post's Topic.ly platform and be seen in online promos via Kelley Blue Book.

Land Rover is also investing mightily in print this November while zeroing in on the male demographic. Five-page spreads in Wired, Esquire and Car & Driver will feature image-recognition technology that lets readers wave their smartphone over the ad to get more information about the vehicle on their device.

Other print and banner ads will run in Architectural Digest, The Wall Street Journal and Robb Report. One example of the copy being planned: "All the Most Dominant Species Start Out in the Wilderness."

For McCullough & Co., it's all about interactivity.

"Today, consumers build their opinions of brands based on how they present themselves in digital, social and mobile, as well as the value they offer in these channels," McCullough said. "The most innovative aspect of the digital creative is its interactive nature and [it] enables consumers to actually experience multiple aspects of how the [Range Rover Sport] drives from their desktop, smartphone or tablet."

Honda CRV's Social Activity Vehicle Case Study

http://4asstrategyfestival.com/storage/bronze_RPA_honda%20CR-V.pdf

Chevrolet at TechCrunch Disrupt to Develop the Future

Developers to help build the future of in-vehicle connectivity with Chevrolet’s API

2013-09-04

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SAN FRANCISCO – Chevrolet will demonstrate its future app framework that allows developers to create the automotive apps of the future at TechCrunch Disrupt San Francisco September 7-11.

The flexible application framework, announced at this year’s Consumer Electronics Show, will allow drivers to add apps and features to their vehicles after the initial purchase, allowing vehicle infotainment systems to improve over time. This framework will be demonstrated at the event in concept form on the 2014 ChevroletCorvette Stingray and Impala.

In addition to the app framework displays, Chevrolet will participate in a Hackathon, where developers will have 24 hours to use the API to develop an app.   After the all-nighter, each team will present its solution to a panel of expert judges and audience members. The winners go on to present their product on the Disrupt stage. Two teams of developers behind the best ideas of the day using a Chevrolet API will win $2,500 each.

App ideas that could appear in a Chevrolet vehicle someday are being developed at a steady rate. Since January, more than 2,700 developers have registered on the portal, choosing to engage in a test environment with either Chevrolet’s Remote or In-vehicle application program interfaces, known as APIs.

“We come to events like TechCrunch Disrupt to get the world’s best developers to think about Chevrolet vehicles as the ultimate mobile device,” said Nick Pudar, GM director, developer ecosystems, Global Connected Consumer. “We’re developing connected vehicles but we know that the best ideas may come from outside the company.”

With Chevrolet’s Remote APIs, developers can use simulated OnStar connectivity to develop apps that interact with the vehicle remotely, either from a smartphone, tablet or computer. Chevrolet’s in-vehicle APIs allow developers to use simulated vehicle information, such as location data or vehicle diagnostics, to create apps that would be incorporated into the vehicle’s infotainment system and would be available to download through a Chevrolet AppShop that is being developed.

The Chevrolet AppShop would be built into the infotainment system and would allow customers to select from various approved apps they want. Drivers would be able to personalize their vehicle, similar to smartphone personalization. The infotainment system would be able to change over time as drivers’ needs change and as new apps become available. Chevrolet has not confirmed specific timing or first vehicles to get the new AppShop.

Chevrolet has demonstrated the ability to advance car connectivity by being the first vehicle manufacturer to offer select iPhone users Siri Eyes Free as well as offering 4G LTE integration on select future vehicles.