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Who we are and our role within BT Retail

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					Marketing Community Awards




Broadband from BT Digital Music Awards 2004

                             May ‘04 – Napster launches legal download service in the UK

                        June ‘04 - Itunes, Apples online song shop launched in Europe

                                            June ‘04 – BPI launch official download chart

                                                           July ‘04 – Mini iPod launched

      October ‘04 – BPI sues 28 people thought to be uploading music illegally and file
                                                                               sharing

                                  October ‘04 – Broadband from BT Digital Music Awards




                                                                            BT Retail PR
                                                                         Jasmine Holland
                                                                         Kim Fitzsimmons




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Marketing Community Awards


BT Retail PR - who we are and our role
We are responsible for creating positive news coverage for BT Retail consumer and business
new wave products – these include the narrowband and broadband access services and
exciting value added services such as VoIP, home communications, BT Rich Media.

Working within the group brand and marketing team, ultimately our objective is to influence
consumer choice and drive sales for BT Retail products and services.

Introduction
This paper will look at the legacy of the Digital Music Awards (DMA’s) and how the BT Retail
PR team have grown the awards, and how they came of age in 2004. It will examine how
using a multi-faceted approach a PR initiative can deliver value to the BT brand. BT’s
ownership of the event ensures that BT can manage and control the messages and
communication – delivering benefits above and beyond a normal sponsorship.

This paper will not look at the logistical element of the awards such as production of the show,
after show party, venue management – which were additional elements of the project.

Activities such as these are outside BT’s ‘comfort’ zone e.g. it does not always feel natural for
BT to be running a music awards show. This paper will demonstrate how this activity can
place the BT Brand within the new wave consumer space which is traditionally hard for BT to
reach. Activity such as this will become increasingly important to BT’s future brand shift
activity.

The Digital Music Awards – a potted history
The Digital Music Awards were inherited with the acquisition of Dotmusic in 2001. The
awards had run successfully for two years and had built a database of strong contacts within
the music industry. Predominantly a trade event it aimed to recognise excellence within the
digital music community. Successful within an industry which was still establishing itself, the
awards were still relatively unknown to the consumer.

With the acquisition of dotmusic and the relatively slow take up of broadband, BT wanted to
promote digital music content and downloads as a broadband application and another reason
for the consumer to buy broadband. The digital music industry as early adopters and
advocates were also a key audience.

The benefits of BT retaining the Digital Music Awards were to associate its brand with the
‘cool/youth’ identity and maintain and build on the relationships with the digital music industry.
An association with a digital music brand would undoubtedly become increasingly important
as broadband take-up accelerated and as digital music became mass market.

It was decided BT would continue to own the event and that it would be allowed to grow
organically, keeping it small, monitoring success and allowing it to grow according to the
market.

In 2003 the Digital Music Awards had generated 130,000 votes and the BT DMA logo was
used on over 2000 websites. They were almost completely trade focused. The Awards were
held at the Lewis Media Centre and after show party at The End. The Evening Standard was
the media partner and ran a total of 7 full page ads (at no cost to BT) in support of the event.

2004 – Embracing the opportunity
The Digital Music Industry:
 Legal music sites quadrupled to over 230 in 2004
 Available music catalogue has doubled in 12 months to 1 million songs
 Paid-for downloads up more than tenfold to over 200 million
 Music on the internet and mobile phones is moving into the mainstream of consumer life, with
 legal download sites spreading internationally, more users buying songs in digital format and
                  record companies achieving their first significant revenues from online sales.
                                            IFPI Report Digital Music Report 2005 (19/01/05)




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In 2004 digital music was taking off and the time was right to take the event to the next level.
As a marketing vehicle the awards fit the profile of two product areas within BT;
Broadband from BT and BT Rich Media.

Broadband from BT – The Digital Music Awards would enable us to deliver the broadband
from BT message to a consumer audience considering buying broadband and also
considering digital music as a reason to buy broadband.
Targets: Teen and pre-teen males and females
         Gadget boys and girls – early adopters
         Young professionals

BT Rich Media – BT Rich Media were building links with the digital music industry and wanted
to raise awareness of the BT Rich Media content management platform and capabilities. The
Digital Music Awards would enable BT Rich Media to further establish itself and build
relationships within the music industry.
Targets: Music industry
          Online pioneers
          Technology brands

To take the awards to the next stage and to promote both Broadband from BT and BT Rich
Media we needed to give the event a consumer and trade focus.

Our Objectives – Broadband from BT Digital Music Awards 2004
We wanted 2004 to be the year that we really put the Broadband from BT Digital Music
Awards on the music-map. The DMA’s would give BT the perfect vehicle to communicate the
‘Innovation’ message from BT and place the brand in front of an audience with a high
propensity to buy broadband

   To successfully deliver a BT owned digital music awards show for a trade and consumer
    audience and demonstrate BT’s commitment to the digital music market.

   To use the awards as a vehicle to generate coverage and positive/cool brand association
    for BT within National, Consumer and Trade press.

   To further establish the awards as the digital music awards – and ownership within this
    space.

   To raise the profile of BT and the DMA’s within the consumer space – UK wide.

The Awards
To bring a consumer element to an awards show you need music acts/celebrity. Music acts
will bring consumer media and consumer interest to an event.

To host an awards show with live performances you need a music venue. The Shepherds
Bush Empire was chosen as it was large enough to host a seated dinner for the trade
audience as well as consumer attendance for the show. The Shepherds Bush Empire also
has a great deal of history as a music venue and would fit the trade audience perfectly.




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Four acts were confirmed to perform at the
event; Wire Daisies(had just topped the
itunes download chart), James Blunt (a
recent signing for EMI), Estelle and Lemar,
both established artists.

A relevant host was also required. Scott
Mills, Radio One DJ was invited to host the
event; as the presenter of the Radio 1
download chart, the fit was right.. The
association with Scott Mills would also help
us to generate further coverage of the
awards on Radio 1.

The Awards consisted of 16 different categories ranging from Artist of the Year to Best use of
Broadband to the People’s Choice Award for Best Music Website. 12 of the awards were
voted for by the public, whilst 4 were judged by a panel of experts.

The awards which are voted for by the public are decided in two stages – the initial long list of
possible winners are whittled down(using public vote). In the final two weeks the public vote
from this shortlist for the winner.

The four judged awards are open for nominations. To nominate yourself or company for an
award you must complete an entry form and pay an entrance fee. Each finalist then
completes a presentation to a panel of judges. The panel of expert judges, from within the
music industry, debate the evidence presented and choose final winners.

This mix of consumer and expert judged categories give the awards integrity, which is
particularly important to our trade audience. The BT DMA’s are the only awards other than
the Brits that have been endorsed by the BPI.

Using the awards as a marketing tool
To generate maximum coverage and exposure we used a number of different PR and
Marketing tactics which would reach our target audience through all mediums; print, online
and broadcast.

Wherever possible we used internal resource to keep costs to a minimum. For the design of
all of our marketing assets we used the internal BT Design team. The Logo, DMA website
and ads were created and maintained by this internal team and approved by Group Brand
and Marketing.

Logo




A logo needed to be created for marketing materials, the DMA website, for use on other
websites, and at the event itself.

A mark was created which would be used alongside the BT logo and any other sponsor logos.




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DMA Website
It was important that we had somewhere to drive people to vote and find out more about the
awards. www.dma04.com was designed and hosted internally and linked through to www.bt.com.
Consumers were able to find out about and vote for the different award categories, participate in
exclusive competitions, download tracks and engage with the brand.

Just under half million consumers voted for the awards, and 200 million page impressions were
generated on dma04.com

Opt in data was also generated and 16,000 leads passed to the wider BT marketing team.




Logo Promotional Programme - Peoples Choice Award for Best Music Website

The BT DMA logo was used on 1400 music
sites.

The people’s choice award is voted for by the
general public and any website is able to put
themselves forward for the award. Because it
is down to the public to vote it is in each
websites benefit to promote the award and
encourage their fans to vote for them.

Websites wanting to nominate themselves
were given a ‘Vote BT DMA’ logo to add to
their site and drive traffic.

Newsletters were also sent from fan, official
and label sites to encourage consumers to
vote and these reached approximately 7
million people.




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Media Partner
For the 2004 awards we worked with BT’s media buying team to agree who we should
approach as Media Partner to best meet our objectives. It was agreed that that the Metro
would be the best target. The timing fit perfectly as the Metro were also about to launch their
own download service.

A sponsor package was put together for The Metro and presented to the team. It was agreed
that the Metro would become media partner and in return BT would receive 11 adverts in the
run up to the awards. This would cost BT nothing and Metro would become prime sponsor.

An example of one of the ads which ran in the Metro is included in Appendix 1.

The Metro covered the awards editorially, with three large pieces of coverage in the run up to
the awards and daily reminders and promotions in the two weeks before. An example of the
editorial is included in Appendix 2

Partnership Marketing
One of our objectives was to try and leverage partners to further build the brand, generate
further revenue or exposure for the awards. We targeted third parties who BT already had
relationships with or for whom the awards could also provide benefits.

All sponsors received branding opportunities on the DMA website, at the event and within
marketing materials, as well as limited number of spaces at the awards.

BT Rich Media sponsor of the Best Artist Download award – BT Rich Media made a
contribution towards the costs of the Digital Music Awards. Rich Media were given two table
at the award ceremony enabling them to invite clients and giving them an invaluable
networking opportunity. BT Rich Media spokespeople were quoted in press materials and
also acted as the BT spokespeople for interview opportunities and the radio day.

Metro headline sponsor at the event as well as sponsor of ‘Artist of the Year’ and received
branding on all marketing material and at the event. In return BT received 11 ads within the
Metro and editorial coverage.

Mean Fiddler sponsor of the Best Urban Artist award – Mean Fiddler agreed to promote the
Digital Music Awards at mean fiddler venues across London in the run up to the event. Flyers
were distributed at gigs 12 key gigs prior to the event at which BT was positioned as a
partner. BT were able to use the association with Mean Fiddler in our advertising – adding the
kudos of an established music brand.

Launch UK sponsor of the Best Music Video Online – Launch provided extensive coverage
of the awards within their website and also a live news stream for www.dma04.com.

IPT sponsor of the Best Digital Promotional Campaign – made a contribution towards the
costs.

Rip & Burn – Rip & Burn was a new music magazine which launched in October ’04. In
return for coverage it was agreed that Rip & Burn could distribute magazines at the event.

Jose Cuervo – Because of the influential trade audience Jose Cuervo wanted a presence at
the awards. It was agreed that they would be able to serve free tequila cocktails within the
venue.

PR
PR was used as the main channel for creating value for BT. We did this using a number of
different tactics.




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   Press releases were distributed in the run up to the awards announcing the nominees.
    We also set up interviews (using nominees) in the run up to the awards to endorse and
    raise awareness of the awards.
            - Metro - Goldie Lookin Chain
            - Radio 1 - Natasha Bedingfield
            - BBC6 Music and Radio 2 - Futureheads
            - Andy Brown BT Rich Media - Talksport

 Radio
Radio days are extremely cost effective ways of communicating controlled messages and
generating widespread coverage.

Marco Distefano (BT Rich Media) with Steve Redmond (BPI) and Jack Horner (Chairman of
the Judges) were put forward as spokespeople and we sold in the topic of Digital Music and
the awards. The following interviews were completed:

TIME     STATION               AREA                             REACH*

09:00    Century 106           Nottinghamshire, Derbyshire      333,000
09:30    CFM Radio             Cumbria                          119,000
09:45    BFBS 2                UK & Northern Ireland            500,000
10:05    Sky News              National                         11,564,000
10:15    BFBS 2                UK & Gibraltar                   500,000
10:30    Choice FM             London                           376,000
10:45    Swansea Sound         Swansea & S Wales                104,000
11:00    BBC Solent            Southampton & Portsmouth         330,000
11:30    Apple Fm              National Digital Station         100,000
                   Reaching    13,926,000
                 Media Value   £104,445.00

 Promotions
Promotions were key to generating coverage in the run up to the awards. 200 tickets were
set aside for competition winners, these winners would also provide us with our consumer
audience on the night. Promotions were set up in the following places:
             - The Metro
             - IDJ
             - Ministry of Sound Online
             - Mirror.co.uk
             - NME.com
             - Milton Keynes.com
             - London Student
             - Confidential Newsletter

 Celebrity
Once you have well known acts confirmed, you have a show. When you have a show you
can expect celebrity attendance. Where you have celebrity you’ll get paparazzi!

Invitations were distributed to a wide base of celebrities. Celebrities which turned up on the
night were:




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         Sarah Harding (Girls Aloud)
         Pooja Shah (EastEnders)
         Andy Newton Lee – (Hollyoaks)
         Noah Huntley (Holby City)
         Jemma Walker (EastEnders)
         Tim Kash (TOTP)
         Dr Sandra Scott (Big Brother
          Psychologist)
         Pamela B (Choice FM DJ)
         Becki Seddiki (Big Brother)
         Nush Nowak (Big Brother)
         Emma Greenwood (Big Brother)
         The Cheeky Girls




The shots generated from these celebs (against a branded backdrop) are invaluable as these
will get your brand into the tabloids and consumer pages (the pages were BT struggles the
most to get positive coverage or brand association). These shots are also kept on file by the
publication and are re-used. See Appendix 3 where shots have appeared so far.

Awards night
On awards nights we had a fantastic turnout
The following tickets were either sold, given to nominees and sponsors, or won in promotions.

              -   22 tables of 10 at £100 each on the ground floor
              -   250 industry/VIP attendees
              -   450 competition winners

Journalists attendance on the night:

          Music Week, Ajax Scott                       Revolution, Phillip Smith
          Music Week.com, Nicola Slade                 Now, Lisa Marshall
          Entertainment News, Ruth Howlett             Time Out, Chris Salmon
          Mirror (3am Magazine), Corrine               BBC 6 Music, Julie Cullen
           Baraclough                                   BBC Radio One, Lucy Furguson
          The Guardian, Owen Gibson                    Newsround, Rachel Gibson
          Independent on Sunday, Henrietta             Newsround, Janina McGinn
           Roussoulis                                   BBC Music Interactive, Richard
          The Sunday Times, Simon Kurs                  Banks
          Record of The Day, Paul Scaife               BBC Crew, Jonathan Summer
          Record of The Day, David Balfour             Record Collector, Tim Jones
          Mirror.co.uk, Ben Rankin                     London Student, Alexi Duggins
          Milton Keynes Online, Carole Rashidi         Ilikemusic.com, Cheryl Rickman
          Mixmag, Nick Stevenson                       British Forces Broadcast Service,
          Smash Hits, Mango Saul                        Lunn Dufus
          Touch, Jodie Harvey                          Teletext, Sarah Louise James
          Rip & Burn, Tom Dunmore                      Fmagazine.com, Fiona Hollis
          NME, Kevin Peery                             Freelance for BBC Networks, Elliot
          NME, Connor McNicholas                        Apiterii
          Reveal, Emma Wright                          Macworld UK, Jonny Evans
          Metro, Sarah Hill                            Orange Portal, Emily Rayner
          Pride, Sherry Dixon

24 interviews were completed on the night; interviews were completed with winners after the
presentation, along with photos which were then distributed with the press release that
evening.




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Newsround completed a filmed item on the night which was shown on the day of the awards.
Radio 1 completed recorded interviews which were used on Newsbeat the following day.

Soundbites from coverage achieved from the night:

    “Worthy of note were the sterling efforts of performers Estelle to coax a call-and-response
                                                                routine from the techie crowd.”
                                                                                    Music Week

 “The BPI is pleased to support BT's initiative in recognising the artists, the record companies
                                   and the technology providers pioneering this new market.”
                                            Peter Jamieson, chairman of the BPI quoted on
                                                                                  Ilikemusic.com

     “The broadband from BT Digital Music Awards are designed to bring out the best of legal
               cutting edge music entertainment from artist websites to digital radio stations.”
                                                                                   popex.com

         “The ceremony was a reasonably glitzy affair. Eastenders actresses and Big Brother
                            contestants - Nush, Emma and Vanessa - were in attendance.”
                                                                              mirror.co.uk


In Conclusion
The Digital Music Awards was a great success from both an event and PR perspective.

The team delivered a successful, sell out music event at the Shepherds Bush Empire.
Feedback from the music industry was extremely positive and most noted how the event had
taken huge steps forward.

    Just wanted to say well done last night, I thought it was a massive step up from where the
                        awards have been in the last couple of years. It was the best one yet.
                                                         Jon Davis, New Media Director, BMG

                It was a great night. Thank you for sorting everything out...much appreciated.
                                          Simon Hankin, New Media Manager, Sony Music

                      I thought it was an excellent night on Tuesday, a really good production
                                        Sefton Woodhouse, Artist Relations Manager, EMI

Just wanted to say a massive thank you for last night. We had a fantastic time and you put on
                                                                               a stellar show.
                                                   Leo Wyndham, Label Relations, iTunes

We generated both trade and consumer coverage and massive exposure of the BT brand to a
youth and music audience, which BT does not typically find easy to reach, using a number of
mediums; print, online, broadcast.

The results show that we generated 218 pieces of coverage all of which were favourable.
The coverage alone achieved an advertising equivalent value of 3.3million.




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To summarise, key achievements against objectives were:

   To successfully deliver a BT owned        A total of 218 pieces PR of coverage
    digital music awards show for a            including 22 broadcast, three national, 38
    trade and consumer audience and            regional, 13 consumer and trade publications
    demonstrate BT’s commitment to             and 75 online
    the digital music market.                 23 Journalists attended the event with 24
                                               interviews taking place on the night
   To use the awards as a vehicle to         11 advertisements ran in The Metro in the
    generate coverage and positive/cool        run up to the event - advertising cost
    brand association for BT within            equivalent of £55,632
    National, Consumer and Trade              493,758 consumers voted for the awards –
    press.                                     200 Million page impressions on dma04.com
                                              The People’s Choice Award, Broadband from
   To further establish the awards as         BT Digital Music Awards ‘vote button’, created
    the digital music awards – and             coverage across 1400 music sites with an
    ownership within this space.               advertising cost equivalent of £1,094,450
                                              Newsletters sent from fan, official and label
   To raise the profile of BT and the         sites to encourage consumers to vote reached
    DMA’s within the consumer space –          between 5- 8 million people
    UK wide.




PR coverage is measured by Metrica, who were commissioned to complete a report on DMA
coverage. The following quote is taken from the Metrica report.

BT Digital Music Award coverage was well targeted, as a higher proportion of each
target audience was reached by coverage than all UK adults.
 On average each target audience was reached by coverage at least 4.1 times during the
    course of the campaign.
 40% of the ‘early adopters’ audience (see definition on page nine) were exposed to
    coverage on average 4.3 times to coverage over the period. This was largely due to 59%
    of items appearing in online publications and news sites.
 Men aged 16 to 23 were the next best reached audience achieving 140 GRPs. 23% of
    this audiences was exposed on average 6 times over the period.
 The ‘early adopters’ audience and men aged 16 to 23 were also the most effectively
    exposed to BT innovation core messages.
 The level of visual branding associated with BT’s awards sponsorship was excellent - 56%
    of items featured the BT logo.

If we had not maintained ownership and grown the awards we would not have been able to
place BT at the heart of an awards ceremony which can only grow in size and reach – along
with the growth of the market. The awards have enabled BT to develop a relationship with a
consumer audience which is key to the future of broadband and a key trade audience for BT
Entertainment.

Summary of Coverage Results
                                                      Coverage
Total number of items:                                   218
% strongly favourable:                                  47%
% slightly favourable:                                  53%
% slightly unfavourable:                                 0%
% strongly unfavourable:                                 0%
Percentage of all UK adults reached:                    32%
Average number of exposures to coverage (all          3.7 times
UK adults):




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Marketing Community Awards


Gross Rating Points to all adults reached:               119

Most prolific product mention:                   Broadband from BT

Advertising value equivalent (AVE)**:                £3,335,046
Opportunities to see (OTS):                          55,886,235


Lessons Learnt
Learning’s which we will take away for 2005

   We would like to have generated more cash sponsorship. Our sponsors were looking for
    demonstrable results from the awards in 2003 – because the reach was smaller and
    London focused we found it hard to gain commitment. For 2005 we will be able to prove
    the consumer reach to make this element work harder for us.
   Traditionally awards events are shortened in the press. ie. The Broadband from BT Digital
    Music Awards are referenced as the Digital Music Awards or DMA’s. Coverage
    measurements show that 70% of all coverage mentioned BT, our objective is to improve
    this further.




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Appendix 1

Example of advertising in the Metro




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Appendix 2

Example of Metro editorial coverage




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Appendix 3
Example of celebrity coverage

October 2004                                November 2004                                March 2005
Daily Star                                  Mirror                                       B Magazine




Appendix 4
Metrica stats showing how coverage has reached target audience using GRPs


                                                                                 All coverage
   400

   350                                                  338

   300

   250
 GR                                                                                    202
 Ps                                     180
   200                     167

   150                                                                 133
             119

   100

      50

       0
             All adults   Consumers        Young      Early Adopters   Youth -       Youth - Male
                                      professionals                    Female
                                          / online
                                         pioneers




      GRPs (‘Gross Rating Points’) used by advertisers to combine reach and frequency information into a
      single score. Calculated by dividing the ‘Opportunities To See’ to a target audience by the number of
      people in that target group. Companies should aim for as high a figure as possible for positive coverage.
      The score of 100 GRPs is a suggested benchmark. This benchmark is based upon each person in the
      target audience being reached once by coverage.




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