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MALE SPEAKER: So what we've just heard from two--
DANA ANDERSON: Filmmakers, really.
You got to follow them
MATT FREEMAN: Let's talk about cheese is basically what I
want to-- yeah.
DANA ANDERSON: Thank you, Matt.
MATT FREEMAN: You're welcome.
Yeah, let's talk about spreadsheets, guys.
So what do you think?
Is this an issue for you?
Is it harder to capture consumers' attention today
than it was?
How do you guys look at this problem of getting brands to
be the experience itself and not an interruption thereof?
Anyone?
Someone?
DANA ANDERSON: One of the things I like about this
attention idea is that I think it gets back to something so
basic, and it's about humanity.
Even though we're caught in a lot of this technology, Matt
and I were talking this morning about a guy that we
used I work with/for who--
you know when people do this.
They come and shake your hand, and they're looking over your
shoulder to see if there's anybody else in the room
that's a lot more interesting than you.
And it makes you feel like a little turned brooch on
somebody's prom dress.
However, on the other hand, somebody like Nina DeSesso.
if you've ever met her, used to be at McCan.
When she was with you, you were the only
person in the room.
And it made you feel so good.
And I love this idea, because it's the same thing in
marketing--
of either I'm going to feel like a turned brooch, or I'm
the only one in the room.
And the idea of attention is about reciprocity.
I'll give you attention and give it back.
As opposed to the idea of a day in the life.
I'm going to figure out where you are at 2, we'll have the
billboard there, don't worry.
And I'm going to stalk you out to see if I can run into you
during your day.
So I like the conversation about attention.
FRANK COOPER: Actually, I love what Peter and Brett were
saying, about moving from attention to intention.
And when I think of our brands, I'm really thinking
about how can I get the ideas into long-term memory, and
ultimately into consciousness.
MATT FREEMAN: We want to stay in the hippocampus.
We learned that.
FRANK COOPER: I think that's the open question, is
how do you do it.
And what do you do And on the what side of it, to me, it
really is about creating meaning.
And that's a very different way of approaching it.
Normally, we think about reach, in traditional terms,
and relevancy.
And and now, about engagement.
But how do you create meaning so that consumers actually
feel like it's part of their lives.
I think part of it is through creating experiences.
I think part of it is trying to move beyond this initial
engagement--
exactly, let me disrupt what you're doing to how can I add
value to your life?
And that to me, that's when you bring
humanity back into marketing.
And I think the disconnect happened, really, in the
modern marketing approach, which has become much more
scientific, and much more rooted in pure analysis.
But if you get back to making the human connection, I think
you'll start to see interesting things.
The other side of it is how you do it.
And the how part is much more complicated, but I think
there's several things that are really interesting that
are happening.
One, the consumer is the medium.
And when you look at the consumer as the medium, all
sorts of interesting things pop up.
And Brett was saying it used to be word of mouth.
It kind of still is word, it just happens in a very
different way, in a compressed time.
I think it's all about that.
Even purchases today--
2/3 of them happen through word of mouth.
So the consumer is medium, and then how do you make your
brand a deeper part of the culture?
And I think we're as guilty as anyone else as being more of a
sponsor than a creator.
And I think more brands have to move from being observers
and sponsors, to curators and creators.
MATT FREEMAN: So it's like a prop to character.
As I think Brett was saying.
Your brand can either be a prop in a movie or it can be a
character, a real part of the movie.
FRANK COOPER: I think it's got to be character in the movie,
or the brand itself has to start
creating cultural capital.
It has to become much more part of the creation process.
And I think this division between what we consider
commercial versus other forms a story has to dissolve.
If it doesn't, people, say OK, that's a commercial.
Why would I be interested in that?
I'm interested in stories that add value to my life.
And crossing that line means there's a different type of
creativity that has to apply.
You're competing with Spiderman or
Batman or rush hour.
You're competing with all those things-- those are
stories that are meaningful to people.
And if you can't get it to that level, then you're
wasting people's time.
MATT FREEMAN: That's really true.
So, Sean and Quentin, between the two of you, I think buy
every dollar of the 24 billion in online advertising.
You have a tremendous economic responsibility for a lot of
Fortune 100 clients.
And some of them are on stage.
So behave. How do you guys look at it?
You're handed this tremendous sum of money.
You're trusted as an advisor and an investor.
There's an expected return.
How do you guys look at this?
Because the problem has obviously become much more
complex even over the last couple of years.
SEAN FINNEGAN: One element I'd like to add to the
conversation here is on--
and just a little on what Frank said on adding value--
is on incorporating functionality
into the brand message.
So I think if there's one thing that I want to
accomplish by the end of my career is to see advertising
become more helpful.
And more of an asset that people actually look forward
to, or maybe even consider as content.
It sounds a little cheesy, I understand, but if you can
truly start to incorporate what a brand or a company or a
service is trying to convey or produce into the experience of
content, I think we've got the win-win versus this
interruptive.
MATT FREEMAN: That's a good point.
So the brand is solution instead of problem
or thing to be evaded.
SEAN FINNEGAN: Exactly.
And Quentin and I could sit here and talk to you all day
about our media math and analysis and tools--
MATT FREEMAN: Would you, please?
SEAN FINNEGAN: No, I will not.
Not after the rock stars just got off the stage.
Boring guy with a tie up here.
I think that what drives our investment is in telling that
story and being relevant and functional and
engaging that consumer.
And then the metrics start to flow from there.
In this real time environment, you do know very quickly
whether you've captured their attention, whether it's been
relevant and successful.
MATT FREEMAN: Quentin, do you have a perspective?
I know you work for a lot of empirical clients as well.
QUENTIN GEORGE: Look, a lot of marketers face challenges in
terms of short-term results, versus
long-term, brand equity.
And some categories it's a little bit more pronounced.
But at the end of the day, it's still exceptionally hard
to spend a lot of money efficiently
and effective online.
It just is really, really hard.
MATT FREEMAN: I could make that so much easier for you.
I just have an idea.
QUENTIN GEORGE: There's fundamental challenges with
the economic model and how you buy.
Because not all inventory, not all experiences are the same.
Yet we still live in this Byzantine, antiquated, quill
and ink model, where we charge things by the tonnage.
It just doesn't make sense.
And it becomes very, very hard to go to a client and say, how
do we think about solving spending money
for you wisely online?
We had the discussion early on.
I think there's essentially three different prevailing
models that will evolve over time, and really polarize the
way we think about, not just the channels that you're spend
money, but the types of transactions that drive those
negotiations.
The first is what we all know as the face-to-face
negotiation, integrated content and brand.
And we know how labor-intensive
those elements are.
But we know when we play to our best strengths, there's
tremendous value there for both sides.
When it comes to experiences, we can't trade in the same
currencies that what we currently trade in that.
So as an industry, we're ill-prepared to answer simple
questions that our clients ask us.
What is the value of an experience of a consumer with
my brand in this kind of location?
And you've got this disproportionate setup where
clients spend money on the top 100 websites, where attention
is probably most fleeting.
And then when you look further down in the long tail, you
have very engaged audiences, very passionate folks around
particular points of interest.
And they go there to, honestly, waste time.
And guess what.
They're more open to certain marketing messages.
What happens?
The CPMs you pay for those kinds of sites is a fraction
of what you pay for the premium sites.
MATT FREEMAN: You've just stated our business model.
Yes, you're right.
You know what's stunning to me, putting the
old agency hat on?
I'm shocked that we still don't have a way to value
experiences.
Just like you're saying.
Like OK, somebody spends 10 minutes with Pepsi World.
What does that mean?
Economically, what does that mean?
Because we have a way to roughly--
even if the math is specious--
we have a way to measure a return on GRPs
or things like that.
We have no model there.
Is that something that you look for, something that you
think about?
DANA ANDERSON: Well, we spent a lot of time talking to
people about why do you like the experience?
Why?
And interestingly, they will tell you that they will--
because we ask the question, does it need to all be
entertainment?
And they're so helpful.
They're like, no, no, no.
But I want 80% entertainment, and 20% sale.
I'll do that.
Now sometimes, we don't handle the entertainment part right.
Isn't that funny.
And then really it isn't very funny at all.
We have this new policy, OTJC.
Oh, that's just crap.
Let's move on to the good stuff.
But that's our challenge, to make sure that we're buying
the best stuff.
But I think in addition, when you ask them why.
And there is this idea of what I pass on, and what I tell
somebody else is this measure of my status.
And so if you can create something that has enough that
I want to tell somebody about, that is a good benchmark for
us, internally, to talk to our marketers about.
Would you tell anybody?
Does it have enough value?
So I think we're trying to get at--
I don't know how to measure it-- but I think we're trying
to get at, how do you get over the bar?
MATT FREEMAN: This is really for anybody, but what has been
the change in your organizations, over the last
five, 10 years?
We really have gone from this dependable, interruptive model
to a very different free-falling world.
How have you guys changed?
What are some of the ways that you handled the brands
differently, you go to market differently?
Can you just talk a little bit about how that
approach has changed?
FRANK COOPER: For us, it's evolving.
And I think the first phase of it was just shifting money
into a different space.
MATT FREEMAN: Which we appreciate.
FRANK COOPER: Which is helpful but it doesn't get
you all the way there.
Second phase of it was developing kind of an
ancillary experience in the digital space.
And again, you still couldn't tie things together.
We're now really focused on, what's the big idea?
What's the experience we're trying to create?
and then how does that come to life?
In any form.
And the difficulty, though--
and I think a lot of companies are facing this-- while you
have that philosophy or that conceptual framework, you're
still dealing with an
industrialized marketing model.
It's really a relic of the 20th century.
And it's an assembly line approach
where things are separated.
And so one department develops something, an idea, and then
you have an agency that handles this piece of it, and
then you have a cross functional department within
the company that handles another piece of it.
And you try to put all this together and it comes out--
what is that, OTJC?
You hit that more often than not.
And that's really the core problem.
Where it works is when you have a cross-functional team
from the very beginning that sits down.
And sit down as strategic partners and you say, here's
what we're trying to solve, here's what
we're trying to do.
Here's an experience we're trying to create.
Then S works.
We did something called dewmocracy.
Mountain Dew-- where we actually created this kind of
story-based innovation.
And through the story, people actually created the next
Mountain Dew product.
But we sat down from the very beginning with all the
agencies, with all the creatives, all the strategic
partners, and it worked seamlessly.
And it ended up being our largest limited time offering
ever in Pepsi history.
And you won't hit that every time, but you'll at least have
a cohesive thought that goes through all the platforms.
MATT FREEMAN: That's really cool.
We grew up together, a lot of us, but media has suddenly
been vaulted to the head of the class in that
collaborative group that Frank's talking about.
What's changed there?
You're no longer the last five minutes of the presentation of
the new business pitch or whatever that gets cut.
SEAN FINNEGAN: The one logo--
MATT FREEMAN: Yeah, on a spreadsheet
that nobody can read.
You guys are ahead of the class.
What's different?
SEAN FINNEGAN: I think that what's different--
and I've seen this evolution over the past five to seven
years-- is that we've taken a much more insightful and
creative look into the consumer themselves in many,
many different formats.
And I think we used to break it up and audiences into that
archaic, adults 18 to 49, that are living in particular zip
code, and household income, blah.
Now it's more of a vertical--
with their passions and understanding in their actions
and their behaviors.
And we've created a series of human experience centers
around the world that tackle a lot of these subjects.
It's less about the demography and much more about these
people and their personalities and what drives them.
And how that can apply to the business objectives that we're
trying to drive for our brands.
I think back to your question--
you're starting to see a transformation of the
individual, just generally.
Not just in media, but whether it's in client-side publisher
agency within creative media.
The rise of a different type of expert and professional
that can manage art and science--
manage the analytics and convert that into an idea,
into a story.
That seems to be the change that I've seen.
MATT FREEMAN: That's interesting
QUENTIN GEORGE: I think that to create the richness of the
types of experiences that we spoke about requires a very,
very broad set of creative partners.
We see many of our clients expanding their roster to get
to the specialist that can create big-branded
campaigns, big ideas.
But then also folks that know the craft of building a
compelling website or a widget or whatever it might be.
And so what they then require is a media partner that can
really look at the investment.
The single biggest line in the [? opecs ?]
that the CFO cares about-- if I put dollar into marketing,
what am I going to get back?
And this is not taking a short-term perspective versus
a long-term perspective, but I think the modern media agency
is really the investment partner or investment
management partner that says, how do these creative assets
perform over time?
Where's the portfolio manager that says if this is a
creative asset, it performs better than this one--
irrespective of the channel, how could we move that around?
And then how can you sequence that?
Because consumers don't
experiences this in the abstract.
There's a sequence in which we have to fit in their life
cycle, in their purchase cycle.
And how can we optimize and use data and use relevance to
really make marketing an effective vehicle?
MATT FREEMAN: So what results are clients asking you for?
Is there is there one tally sheet at the end that they're
all asking for?
Is it all over the map?
They hand you however many billion dollars in aggregate
every year.
What's the report card that you give back?
QUENTIN GEORGE: We have, as an industry, trained our clients
to not measure results, but measure performance.
Here we are, we talk about ROI, ad return on marketing
investment and sales, and we come back
with CPM, reach, frequency.
There is, in some instances, no correlation
between those things.
And I think some of the smarter agencies, certainly
the two on the panel here, are figuring out the proxy metrics
that show you, if we do look at the trends over time with
some of the activity-based measurements, what does that
correlate in terms of results?
Because ultimately that's what matters.
DANA ANDERSON: I think we're just as trapped by it.
Because if you live and die by numbers only,
we'll never get anywhere.
And so--
I know it's sounds sneaky, don't tell anybody at home.
But some of the stuff we're doing is the "p"
word, it's a pilot.
It's a pilot.
Don't worry, nobody's looking to you, we're just going to
take a run at it.
The idea that fast can be beautiful.
Because where I come from, we like to sit
an egg a long time.
So if we can get it out the door better because fewer
people touch it.
And my media guy, Mark's, here.
We are a partner.
We're doing pilots with naked--
to get our people around the table at one time.
There's a lot of midwifing going on with this, but using
the "p", it's a pilot.
So it's OK.
To try to remove this fear of, I'm not going to perform, as
opposed to, I'm going to learn something
to make it go faster.
Fortunately, we work for somebody who's really
supportive of that and helps us through the
corporation to get that.
But unless we get a little freedom here in trying things
and always not looking at the end of the
day, how about this--
then that's what we need to do to be good
partners with our companies.
SEAN FINNEGAN: I think it's also not just about the vacuum
of digital, as well.
It's also looking at a single consumer, stop treating them
in silos, based on everything from planning to negotiation.
Your metrics on the multitasking and everything--
it's more appropriate for us, as agencies and marketers, to
certainly weave a message through analog and digital.
And then also see how everything from TV to search,
how that is starting to lift whatever brand measures you're
going to track.
FRANK COOPER: From a client's eye, My first request is just
decipher it for me.
Because half of the time it's like, hieroglyphics.
It's these spreadsheets with numbers that are in rows and
columns, that by the time--
your eyes glaze over.
And they look at you, everyone's nodding, but no one
really understands.
MATT FREEMAN: I think we count on that.
SEAN FINNEGAN: I bet.
But I think part of it, though, why it continues, it's
that whole notion of what I said earlier about the
industrialized marketing model.
And if people have a certain comfort, even if they know the
metrics or wrong.
MATT FREEMAN: That's why we all can agree to.
FRANK COOPER: Exactly.
But you know the CFO still believes that metric is OK.
People are going to use that metric.
They say, hey the CRM or GRP or whatever.
I know it's not true, I know it doesn't really measure
anything meaningful.
But that's what everyone is using right now as a proxy for
what they think success is like.
And I think we're now at a point where that's no longer
sustainable.
That has to go.
MATT FREEMAN: That's our point.
It's like, when you think about CPM, the only onus that
you're asking the media company to adopt is that they
delivered your ad.
Well, good job.
I would hope you would deliver my ad.
You know what I mean?
But what happened then is the real question.
FRANK COOPER: But then you get to some territories where it
is difficult, I gotta say.
How do you measure an experience?
It's a difficult thing.
There's nothing out--
nothing--
that measures conscious.
Nothing.
Neuroscience is great, I love neuroscience.
But it can't measure conscious.
It can't measure awareness, it can't measure attention.
It can measure the emotional effect, it can measure
craving, it can measure a bunch of the things, but it
can't measure consciousness.
So the question really is what's the next proxy that
gets you close enough that gives everyone comfort that
this is delivering something of value for the brand.
MATT FREEMAN: What do the CFOs of your companies ask for?
When they say, OK, this ginormous line item.
Obviously, sales volume contribution
and things like that.
Like But what are--
FRANK COOPER: Because it is there, I'll
be honest with you.
I think and now--
it used to be, OK, you can show me awareness and you show
me relevancy.
I'll play along with you that, eventually, that's going to
lead to sales.
Eventually.
But now most CFOs that I've seen in all the divisions are
saying, actually I want more comfort that there's a direct
tie between what you're doing and actually, ultimately,
driving sales.
And you can't do that, at least show me that you're
ultimately building brand equity.
But all these terms are loose terms right now.
MATT FREEMAN: Right, what does brand equity mean exactly?
FRANK COOPER: Exactly right.
And so I think we're all in the process.
Every large company that I know of, is struggling with
how do you define these terms today so that they're
meaningful, both to the CFO, but also
to the brand marketer.
MATT FREEMAN: On the agency side, obviously, you have
clients under pressure more than ever before.
They're asking for decipherable proof--
how do you guys approach that?
P&G, one of the most successful
empirical-based marketers.
How do you attack that problem with them?
Not P&G, in particular, but just in general.
SEAN FINNEGAN: There's a variety of metrics.
There's a little bit to this story, I'll give you the
direct answer, but then what's going on the background is
also a little bit of a transformation, some
transition, and just comfortability over time.
Just because human behavior always has to play a role in
this, on new ways to count media.
There was pretty strong efforts to convert to a single
GRP for cross media.
And that, very well, still may be the
case, in certain response.
There's also an equal respect to paying attention to all the
many different dimensions of counting media, and then
assessing of some sort of price value to each.
In terms of impression and the interaction rate, and
certainly click, and then lead sales and CRM elements, and
starting to do those.
So there's an education.
There's a real rise within the agency world of the business
intelligence centers and units.
These are separate people.
These aren't the media planners and buyers taking on
a part-time job.
These are the hardcore analysts that have set up
systems to get immediate responses to campaign
information.
Having a lot of those systems dial in to our clients, sale
systems, to start to get a better sense of consumers and
their actual purchasing habits, et cetera.
So there's a lot to it.
There's a huge volume.
And what we're doing increasingly is educating our
clients to be more comfortable about the many different ways
to count a consumer and how they act.
MATT FREEMAN: I think you're absolutely right, they're this
just absolute flow of different touch
points right now.
Is there a standard measure?
Is time something that you look at as a standard
contribution measure from TV to
promotions to viral to whatever--
is that not something you look?
Is there a standard metric or is there none?
QUENTIN GEORGE: No, there's not.
There certainly are a number of efforts that the industry
bodies are supporting.
But I think there are a couple of issues that we have. The
first is, we live in this perfect storm, that we have
marketing as the last shared service to be optimized.
And consumers that are seemingly out of control
because they don't behave in unpredictable ways that make
it efficient for us to interrupt the great content
that our content partners produce.
And so, how do we use technology to start to
understand what role we ought to play in context?
We can have the best possible experience, but if it's out of
context and not relevant, it doesn't matter.
I'm the best possible internet consumer.
I never clear out my cookie pool.
But somehow--
if you're in the audience, I already have the lowest
possible mortgage.
Don't give me the better.
I already have the largest possible ***.
MATT FREEMAN: Congratulations I'm going to turn my title
over to you, apparently.
QUENTIN GEORGE: But so how do we use data in meaningful ways
to create the targetability so that those experiences are
relevant, are adoptable, and can ultimately be valuable?
FRANK COOPER: And I thought those messages were
especially for me.
Man.
All those pop-ups.
MATT FREEMAN: But you're saying that, and yet, that's
where most of the money goes.
To those broad-reach vehicles.
Even in our highly accountable, brave new world
of digital, that's where most of the money goes.
FRANK COOPER: It's easier.
It's the easiest way to spend it.
MATT FREEMAN: To your point of the industrial complex, it's
like, that easy.
QUENTIN GEORGE: People want to--
brands want to do something on Facebook, they want to do
social media, and so what do we do?
We buy fridge magnets on Facebook for you.
SEAN FINNEGAN: When you think about it, there's a lot of-
it's engaging-based media that we don't buy that
captivate in elevator.
We're all staring at because we don't talk to each other.
Or the in-flight videos, where you're paying
attention to that.
Stuff like that where you're actually engaged.
Those kind of things are doing better, but they've constantly
had a problem just attracting significant ad dollars, yet
they are guaranteed to get your attention.
And you're forced to spend time with them, and you want
to be there.
MATT FREEMAN: It's a misalignment.
SEAN FINNEGAN: Yeah, absolutely.
FRANK COOPER: I think there are two other things.
How do we get a better understanding of the
experience within each of these contexts, right?
For example, Twitter.
Everyone knows about Twitter and the followers, and
celebrity tweeting and all that.
It's great.
But if you think about Twitter as being the power of now.
When Google had its black out, what did it do?
If you Google, you get nothing.
But if you went on Twitter, there was this long
conversation that explained exactly what was happening
with the blackout.
Same thing in Iran.
Power of now.
If you start to think about it that way, and that that's the
experience, then you have a better understanding of how to
plug into it.
And you can go from Facebook to Twitter, to any other
social media.
Think about it in that different way.
And suddenly new possibilities arise.
I think the second one, and this is a challenge that, I
think, Peter brought up earlier--
it's the paradox of going small before you go big.
Our instinct is that we have big audiences, big brands, big
bases, big budgets, let's get a big audience right away.
And paradoxically, you're better off finding a core
group of people who are really excited about
what you have to say.
And hitting them hard, and then letting that spread.
That's the better way to do it.
But it's not built into this industrialized way of
approaching marketing.
And so I think that's another leap we have to make.
DANA ANDERSON: Because it's still romance at the very end.
FRANK COOPER: It really is.
MATT FREEMAN: So, Dana, we were talking earlier about the
ingredients to a great story and things like that, and
you're starting to bring some of that thinking, that
storytelling thinking into craft and selling some brands.
DANA ANDERSON: We did two interesting things.
We had the photographers and the food editors from Gourmet
magazine-- all the lovely food magazines to come and talk to
us about how they do it.
And interesting--
even though it's a flat picture, there's a story for
every photo that they know before they
go in to the shoot.
And we're going, uh, we didn't have a story.
We didn't have a story.
I had an strategy.
And then when I ask my agency guy, what's the story?
He says, well, the photographer knows.
And so we're trying to make everybody aware of, do you
know the story?
The other thing, and you could look this up.
There's a storyteller teacher named
Bill Johnson in Portland.
And he's not the only one in Portland.
I don't know what it is about the storytellers, but
apparently, they congregate there.
I'm not kidding, It's really true.
And he said there are three parts.
When he's teaching storytelling--
three parts.
The first one is the purpose.
Like Romeo and Juliet, the purpose is the power of love.
The middle part is the momentum-- how do I get you
over the obstacles?
And the third part is the audience fulfillment.
What do I want the audience to leave?
We never think about the audience--
I mean, we are now.
But I think, in general, and when I was on the agency side,
you just wanted to get it done and solved.
You weren't so much thinking about what's the after effect
because you were already bombarded by the [? link's ?]
score, and the IAG number, and you know you were going to get
chased out of town for that, too.
So basically, getting through with the idea
unscathed was your goal.
But to take a moment to stop and say, I'm making this for
them, the stories for them, so what's the fulfillment on the
other side.
It's kind of a real interesting idea.
QUENTIN GEORGE: And the internet does spectacular
things in enabling us to, not just tell the story, but allow
the story to be propagated, and deliver value--
making it useful.
It's not just the message, each utility.
FRANK COOPER: And it gets really interesting when the
story engine becomes public.
Suddenly, it used to be the one-way story, but what
happens when you make it interactive.
What happens when you put it out there, and you let people
respond to it and shape it and build it?
That's when it really gets interesting.
That's where, you're going see much--
hopefully, you'll see some of it from us-- we'll see if we
ever get it out, but I think you're see it in
the future for sure.
MATT FREEMAN: Well, I wish we had all day.
But please help me thank, Dana,
Sean, Frank, and Quentin.
Just a little more attention, sit down.
Sit down.
Not you guys.
You guys are fine.
So thank you for your attentions during our
attention convention.
By now you may be wondering, that's great, who the
hell is beta wave?
Exactly.
And I'll start by telling you what beta wave is. beta wave
is actually a cognitive term.
It's a term for the mind state of active concentration.
And we, as I said, we built a company around the idea that
we shouldn't just chase reach--
those maximum number of people, but we should chase
their attention, the time that they spent.
And we, in many ways, obviously, have done a
terrible job at PR.
But we may be the biggest media company
you've never heard of.
We have the largest youth audience--
6- to 17-year-olds, number one with moms, 25 to 54, are
growing with 18 to 34, and are continuing to age
northward as we scale.
The way we measure is on our reach times our time spent.
Unique users times time spent.
And it's to get an aggregate amount of attention that we
can then around and sell to brands.
Skip the impression part of the chain, and dive directly
into attention, which is
ultimately, what drives intention.
And Peter was talking about this earlier.
But we see clearly, in our own research and third party
research, attention is the precursor to intention.
Intention is that learned behavior that
drives offline sales.
If you are a direct marketer, I understand, there's a reason
for the clickthrough rates, for the cost per lead, cost
per acquisition, et cetera models.
If you're a consumer package goods, and you can't download
directly through the internet, it's that intention that needs
to be built.
And that is what we want to sell.
Because of the audiences we have in this highly engaged
state, our interaction rates on games, on advertising, tend
to be disproportionately high, by a factor
of 10 in many cases.
And it's simply because we've built our scale, again, on the
end product of attention instead of just gross reach.
You can see this in the, albeit imperfect, but
indicative proxy of clickthrough rates.
You can see it in the qualitative scores from
dynamic logic and others, on the offline sales
contribution, the purchase intent.
And what we'd like to invite you to do now is to see it
through an attention application.
What we've done is developed an attention app.
And it's tools for you guys to use.
It's very beta--
I forget Dana's terms, but this is certainly not a
finished product.
It's a first shot.
It's for you.
We want to hear what you think of it.
We want to hear where else you want to see it go.
We want to develop this with you.
But the idea behind the attention app is, hey, let's
look at digital media.
Not just as how many people can we reach, but how much
attention can we generate for brands.
And begin to look--
there's a calculator, begin to calculate attention, begin to
compare attention between media properties.
And then help you through the exercise
of capturing attention.
And it even cleverly measures your own attention to the app
itself, time spent on both the passive and an active basis.
So this is our attention app.
We invite you to embrace it, and use it, and--
Mike, you want to switch back there, pal?
Mike is having too much fun up there.
You do work for me now still.
You can't blow me off, like the others.
So with that, we hope to invite the beginning of a
discussion.
You've seen this show, install the app, and let's have a
conversation about attention.
Thank you so much for your attention today.