From 2003 to 2005, Apple tried to move the iPod away from being an Apple
Computer accessory. Central to this was the release of its "Silhouette" campaign.
Out of home "Silhouette" ads appeared in Los Angeles during the second week of
September 2003, immediately after Apple had announced earnings of $2.15
billion for its third fiscal quarter. The out of home campaign was extended to
other cities. On September 15 "Silhouette" print ads launched in newspapers. In
October "Silhouette" ads appeared in music, sports, and men's magazines. The
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campaign's first TV spot featured silhouettes of people wearing iPods and dancing
to the Black Eyed Peas' "Hey, Mama." In 2004, the campaign moved behind a spot
featuring U2 and a special edition iPod U2.
"Silhouette" dramatically helped iPod move to the forefront of the market for
bl i Th U2 l
portable music. The U2 spot alone increased Apple's stock to a 52‐week high in
i dA l ' k 52 k hi h i
2004, adding $2 billion to Apple's overall market value. Sales of the iPod peaked in
2004 with 92% market share, though this slipped to 87% by March 2005.
In early 1997, the situation at Apple was bleak and the company was in danger of
ending its second consecutive year without profit. Consumer confidence in the
company s survival was slight and Apple was running more than 25 different and
company’s survival was slight and Apple was running more than 25 different and
frequently uncoordinated advertising campaigns. In a desperate attempt to salvage
the situation, the Board of Directors invited the company’s co‐founder, Steve Jobs
to return as CEO more than a decade after they had asked him to resign. Jobs
launched the “Think Different” campaign which was intended to build consumer
The campaign initially ran on TV, soon followed by a first wave of magazine ads
choosing Business Week, Time, Newsweek and advertising trade journals over the
By its final year, "Think Different" had transitioned into a print and billboard
B it fi l "Thi k Diff t" h d t iti di t i t d billb d
campaign. For example, billboards placed on the tower of the Pine Street Inn in
Boston featured black‐and‐white images of Martin Luther King, Jr., and Franklin
and Eleanor Roosevelt. The tagline "Think Different" and an image of Rosa Parks
covered buses in New York City. The campaign ended in mid‐2002.
In 1997, the LEGO Company set out to develop the Bionicle product line which
would appeal to more physically active boys who have a shorter attention span and
less time for play. The initial results of the development process – a combination of
less time for play The initial results of the development process – a combination of
construction sets and action figures ‐ were successful and, since Lego had been
successful with its Star Wars license, the project group saw huge opportunities for
developing a story for the next generation of these toys.
The communication strategy was to use as wide a range of media as possible to
expose the children to the story in different ways. Each of the media would carry a
different part of the story depending upon time and individual media storytelling
ability. Posters and movie trailers were made to look like something from a feature
Bi i l achieved 3.5 times more sales in its first year than the first generation
Bionicle hi d 3 5 i l i i fi h h fi i
product did in its launch year of 1999. During this short span of time, Bionicle
achieved a increase that represented more than 10% of the LEGO Company's
collective growth. Bionicles actual sales exceeded the budget targets and the LEGO
Company sold approximately 85% more Bionicle products than it had originally
budgeted, despite delivery difficulties at the end of 2001. With huge sales of
budgeted despite delivery difficulties at the end of 2001 With huge sales of
Bionicles, the LEGO Company achieved for the first time a placement within the
American toy industry's top 15 bestselling toys.
In an effort to promote the state's dairy products, and to deal with its growing milk
surplus, the California Milk Advisory Board (CMAB) established the "Real California
Cheese" campaign in 1982. During the first campaign, which used the tagline
eese ca pa g 98 u g e s ca pa g , c used e ag e
"California cheese is great cheese," California jumped to the number two maker of
cheese production after Wisconsin. In 1995 the "It's the Cheese" campaign was
introduced as the new tagline.
The “Real California Cheese" campaign remained extremely popular and helped
California to close in further on Wisconsin dominance as the national leader in
cheese production. In addition to television spots there were radio commercials,
ads on buses, bus shelters, and billboards.
The campaign was accompanied by increased sales of California cheese as well as
California dairy products in general. Partly as a result of the campaign s success,
California dairy products in general Partly as a result of the campaign's success
California was able to narrow the GAP in cheese production between itself and
Wisconsin. In 2004 the production of cheese in California neared 2 billion pounds,
which was an increase of 163 million pounds, or 8.9%, compared to 2003.
Although the "Real California Cheese" campaign began somewhat cautiously,
g p g g y,
starting with local markets and only slowly expanding nationwide, it eventually
gained success. Within a decade of its introduction, the campaign had helped
make California the biggest dairy state in the United States, surpassing Wisconsin
and bringing incremental revenue to the state.
Through the 1980s and 90s the confections breath mint market was dominated by
Breathsavers and Tic Tac with a collective market share of 75% in 1997. In 1995, an
out of home campaign appeared in local markets with the headline The Original
out of home campaign appeared in local markets with the headline “The Original
Celebrated Curiously Strong Peppermints,” featuring “Altoids” as the signature.
Market share shot up quickly and the brand went nationwide within two years.
The dominant medium was print but 15 %of the budget went to out of home.
Twelve cities were perceived as core markets where brand penetration should be
reinforced. Not only were billboards, bus shelters, and phone kiosks included, but
special units produced as landmark painted wall murals and airplane banners were
bought. In San Francisco, Altoids even sponsored a sailboat.
After a 30‐year hiatus from marketing, a dying fan base, a growing move away from
low priced wine, and diminishing shelf space as a result, Gallo use the Jug Simple
campaign to reintroduce Carlo Rossi to a new generation of drinkers The campaign
campaign to reintroduce Carlo Rossi to a new generation of drinkers. The campaign
focused on 21 to 29 year olds using the Carlo Rossi jug as a central image with an
entire set of living room furniture made from empty jugs. The campaign launched
online, was followed by a road tour supported by an integrated media campaign
using out of home as well as geo‐targeted online placements, local alternative
newsweeklies, radio, wild postings and guerrilla media.
The largest brand in the domestic segment, and the global industry is Franzia, a
brand with volume declines of 3.2% ending the year at 22.8 million cases. The
number two domestic brand, Carlo Rossi, jumped 2.6% to 12.7 million cases after
the campaign. The brand also experienced a dramatic increase in spontaneous and
id d b d (th l tt i i f 51% t 82%)
aided brand awareness (the latter rising from 51% to 82%).
1978 the new "Beautiful Drink for Beautiful People" campaign replaced the "Be
Good to Yourself" campaign that began in 1975. The new campaign provided a
fresh new approach to interpreting the appeal of Tab by reaching the “ageless
fresh new approach to interpreting the appeal of Tab, by reaching the ageless
young‐at‐heart” who keep trim while they enjoy living. The campaign used print
media, out of home advertising, radio, television, and point‐of‐sale advertising at
Tab became the top‐selling drink in its category. Changing market conditions and a
p g g y g g
corporate decision to downplay the Tab brand later caused the public to lose
interest in this formerly popular drink, with Diet Coke becoming the company's
diet beverage of choice. In later years, despite the fact that Tab still recorded about
$26 million a year in sales, the market for Tab became a specialized one.
Zero Taste Similarity
Three years into its launch, Coke Zero was growing at a respectable level. To deliver
the share increase required, Coke Zero had to gain volume growth by appealing to
men 18–34 who represented the largest untapped audience for diet sodas. Many
men 18–34 who represented the largest untapped audience for diet sodas Many
18–34 year old males said that diet sodas tasted bad and had an image of being
overly feminine. They preferred the taste of full sugar sodas but, as they grew
older, they were starting to move to lower calorie options such as energy drinks,
water or sports drinks in exchange for soda. The strategic challenge was to
convince young males that Coke Zero really did taste like Coke.
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In addition to TV and cinema, print and out of home creative contained the
message of Zero’s similarity of taste to Coke, with a headline that tied all media
back to the “taste infringement” concept of the TV ads. A strategic out of home
campaign included 12 major markets with the message “taste infringement”
l db i
complemented by a print campaign in male targeted publications. Radio creative
i i l d bli i R di i
was developed to reinforce Zero's taste message within the restaurant
environment and event sponsorships were also part of the communication mix.
Competition. Bad for Them. Great for you.
In June 2004, DHL began advertising on television after more than 20 years in the
shipping business, signaling a decision to enter into direct competition with the
leaders in the courier market, FedEx, UPS and the US Postal Service. The campaign
leaders in the courier market FedEx UPS and the US Postal Service The campaign
featured the tagline "Competition. Bad for them. Great for you." It consisted of TV
spots as well as print and online advertising with out of home signage. Billboards
were installed in strategic locations around the United States. One of DHL's most
prominent, and telling, billboard ads was located at the Memphis, TN, airport,
across from FedEx headquarters. The advertising campaign was supported by a PR
Monday Night Football – Is it Monday yet?
After 36 years on ABC, Monday Night Football MNF started its 2006 season on
ESPN. ESPN had been very successful with Sunday Night Football (SNF) which was
consistently the highest‐rated cable program of the year. To succeed with MNF the
consistently the highest rated cable program of the year To succeed with MNF the
program required high ratings and a substantial increase over SNF ratings.
An extensive campaign began in August and ran until the end of the MNF season.
The media plan included television, print, radio, online, various out of home
p y gy y p y, p p y
platforms and synergy efforts with The Walt Disney Company, its parent company.
Out of home usage included bulletins, posters and bus kings featuring the “Is It
Monday Yet?” line and the ESPN MNF logo. These formats ran in New York, Los
Angeles, Philadelphia, Chicago, San Francisco, Boston, and Dallas. Mimicking day‐
specific ads used in other media, day‐specific out‐of‐home ads ran on smaller units
such as commuter rail car cards, subway posters and bus shelters.
ESPN's performance with MNF broke cable TV viewing records:
• ESPN's inaugural MNF season was the most‐watched series in cable television
• ESPN's NY Giants at Dallas MNF game delivered the largest household audience
in cable television history with 11.8 million households.
in cable television history with 11 8 million households
• Excluding breaking news, ESPN's 2006 MNF games account for 9 of the 10 most‐
viewed telecasts in cable history.
• ESPN's MNF games that season rank as the 17 most‐viewed cable telecasts of
For Every Generation
In 1999 GAP Inc., with a reputation for offering consumers affordable casual
clothing basics such as khakis, jeans, and T‐shirts, shifted its marketing focus to
teen shoppers To attract teens to its stores GAP began offering trendy
teen shoppers. To attract teens to its stores, GAP began offering trendy
merchandise such as glitter‐decorated denim jackets and body‐hugging shirts. As a
result it lost many of its core customers, sending the company into a financial free
fall. Prior to the product shift, the company had reported $1.13 billion in earnings.
In 2001, GAP reported a loss of $7.8 million. GAP’s sales went into a downward
spiral, and in April 2002 the company reported a 24% drop in sales at stores that
p , p p y p p
had been open for a year or more.
In 2002, in an effort to win back its core customers and reverse its declining sales,
GAP again changed its focus. The chain launched a global marketing campaign
titled "For Every Generation," aimed at a broader audience. The campaign included
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television spots, print and out of home ads, and direct mail. Commercials featured
d dd l l f d
a roster of 50 celebrities dressed in their own GAP clothing.
By the end of 2002, it had become clear that GAP’s marketing strategy had
accomplished its goal. Prior to the campaign's launch, the chain had reported 29
consecutive months of declining sales. Following its launch in October 2002, GAP s
consecutive months of declining sales Following its launch in October 2002 GAP's
sales were on the rise, up 1% compared with a 17% drop in the same month the
In April 1998, GAP, Inc. launched a global advertising campaign for its chain of
nearly 1,600 casual‐clothing stores. The campaign focused on the company's khaki
pants. The US khakis market was growing at a rapid rate due to two main factors.
pants The US khakis market was growing at a rapid rate due to two main factors
First, younger consumers increasingly eschewed blue jeans, the traditional badge
of youth culture, because their Baby Boomer parents often wore denim and,
secondly, "business casual" clothes, including khakis, were gaining acceptance as
appropriate professional attire.
One of the primary target audiences of the "Khakis" campaign were teenagers.
Care was taken not to alienate the second target, Baby Boomers who were
experiencing the "business casual" boom of the 1990s, which meant more
employees—of all ages and positions—began wearing khakis to work more often.
Once known as comfortable "old man's" clothes and then as the preppy pants of
the 1980s, khakis were presented as the ultimate in “cool” as a result of the
In addition to TV, print ads appeared in national magazines and out of home ads
appeared in major markets.
The campaign was an immediate success. Consumers were effusive about the
commercials, and GAP's sales soared after the release of the ads. GAP stores
experienced a stunning 24% gain in same‐store sales in May 1998, which USA
Today credited to the "Khakis" advertising. Year‐end figures for 1998 revealed that
GAP had increased its sales nearly 40% during the year.
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H & R Block
Worried About Bill
In 2000, H&R Block, Inc. was the largest tax‐preparation company in the Unites
States. The company was venturing beyond the niche industry it had excelled in for
45 years. After a series of acquisitions and changes in upper management, the firm
45 years After a series of acquisitions and changes in upper management the firm
known for preparing tax returns began touting its new mortgage and brokerage
services, financial‐planning services, and line of personal‐finance software.
The company also wanted to brand H&R Block as a financial service available to all
Americans, not just high‐profile businesses. Putting all of the company's changes
, j g p g p y g
into one advertising message, H&R Block released its "Worried about Bill"
“Worried about Bill" broke nationally in January 2000. H&R tripled its advertising
budget to finance the $100 million campaign, which employed television, radio,
i d fh d
print, and out of home advertisements. The campaign featured the fictional
i h i f d h fi i l
character Bill, who, as the April 15 tax deadline approached, grew increasingly
anxious while preparing his taxes.
It’s All About the Beer
By 1972 the Heineken brand had become America's top imported beer but, having
been an icon of 1980s luxury and excess, it did not reflect changing trends in the
United States during the nineties that had evolved into more modest behaviors. By
United States during the nineties that had evolved into more modest behaviors By
the 1990s, Heineken had an outdated image. Future growth hinged on making the
brand more approachable in the US market, specifically connecting with the beer
industry's all‐important audience of 21 to 35 year olds and maintaining its
reputation for superior beer. “It’s all about the beer” launched in 1999 focusing on
"beer moments", situations in ordinary life that became dramatic or otherwise
noteworthy because of the presence of Heineken. The campaign featured
irreverent humor and down‐to‐earth backdrops, taking Heineken off its pedestal
and communicating an updated, more youth‐conscious sensibility while focusing on
the quality of the beer itself.
h h l df l k l d d d
The campaign helped fuel consistent increases in Heineken sales and was credited
with positioning the beer for healthy long‐term growth. These successes were
likewise reflected in increased ad spending, as the brand's measured‐media budget
grew to an estimated $50 million by 2001.
Heineken changed agencies twice in two years, with the third incumbent of the It s
Heineken changed agencies twice in two years with the third incumbent of the "It's
All About the Beer" campaign staying on message, extending its well‐received TV
spots in 2003 and adding out of home ads and radio spots.
In 2002, IKEA was the world's largest home‐furnishing retail chain and had just
announced plans to open 60 to 70 new stores across Asia, Europe, and North
America. Although awareness was generally high in US metropolitan areas, it was
America Although awareness was generally high in US metropolitan areas it was
lower in smaller cities and suburban markets. The "Unböring" campaign set out to
increase brand recognition in the United States. The title of the campaign included
a fake umlaut as a tongue‐in‐cheek reference to the company's Swedish heritage
and focused on Americans' compulsion to keep outdated furniture. "Lamp," the
first television spot, directed by Spike Jonze, featured an old red lamp that had
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been replaced by a new IKEA lamp.
During the last weeks of September 2002 the campaign launched on television, the
Internet, print and out of home, with all ads containing the tagline: "Unböring".
Out of home billboards featured enormous IKEA price tags with actual furnishings,
h b k d f h d h i " bö i "
such as bookcases and sofas, attached to the signs. "Unböring" posters were
placed in New York and Chicago, and "Lamp" and "Moo Cow" television
commercials aired during the World Series and during popular network shows.
All Wheel Drive Launch
In March 2002, Infiniti launched the G35, a $30,000 sports sedan that made top 10
lists published by the trade press. Despite the cars’ virtues as a sports sedan, its
rear wheel drive configuration was seen as a winter‐driving liability in northern
rear wheel drive configuration was seen as a “winter driving liability” in northern
markets. During its first winter on the market, G35 saw sales drop 30% between
September and December. It was clear that an all wheel drive model was needed
to bolster G35 sales through the winter months, but this would be simply
launching yet another AWD sports sedan into the market.
The creative strategy emerged from a simple insight: Infiniti's AWD system was
superior not because it delivers better traction in snow, but because it delivers
better performance on a dry, sunny day when motorists really want to drive
aggressively. Competitive systems deliver AWD all the time, even when you don't
need them which handicaps the vehicle's performance. Infiniti's system switches
i ll b AWD d h ld i d di di i
automatically between AWD and rear‐wheel drive, depending on conditions. When Wh
AWD isn't needed, the car is switched to rear‐wheel drive. The ad copy put it more
simply, “Infiniti: All Wheel Drive that changes with the weather.”
With limited resources, “snow‐related” media were chosen to maximize the impact
against target markets at the most appropriate time. Out of home billboards were
against target markets at the most appropriate time Out of home billboards were
run in snow heavy markets which also received supplemental cable spots. This was
backed up by a national newspaper campaign on the weather pages of The Wall
Street Journal and USA Today, an online campaign that ran within the ski report on
weather.com and magazine spreads.
In 1996, Holiday Inn wanted not only to publicize the physical improvements it was
making in a renovation program, but also to revitalize consumers' ideas about the
chain. Though it had dominated the roadside hotel market for decades, the chain
chain Though it had dominated the roadside hotel market for decades the chain
had been struggling since the 1980s to distinguish itself from a host of new
competitors and the new campaign sought to modernize the Holiday Inn image
and rebuild the brand's reputation for quality and consistency. The campaign
launched during the 1997 Super Bowl, using the tagline "On the way" to tell
consumers about the physical makeover in process at many Holiday Inn locations.
p y p y y
The television campaign "Mark" followed, running to wide acclaim from 1999 to
2002 and significantly raising the brand's profile. However, after "Mark," Holiday
Inn left television for two years, focusing on print, airport displays, and out of
home ads for its "What Matters Most" campaign.
l h h ld ' k k l d f ll d d
A 2004 television campaign on the children's network Nickelodeon followed, and in
2005 the agency adapted the concept behind the "What Matters Most" campaign
for placement on a variety of cable television networks.
The success of the brand‐rejuvenation strategy was most evident during the
Las Vegas Convention & Visitors Authority
Vegas Stories Campaign
Between 2000 and 2002, the number of visitors to Las Vegas dipped from 35.8
million to 35 million. At the time the decrease was attributed to the terrorist
attacks of September 11, 2001, the sprawl of Native American‐owned casinos
attacks of September 11 2001 the sprawl of Native American owned casinos
across America and a sudden increase in locations that allowed gambling. The Las
Vegas Convention & Visitors Authority (LVCVA), with a primary mission to market
Southern Nevada as a premier destination for leisure and business travel, released
its "Vegas Stories" campaign in January 2003 to brand Las Vegas as a leisure
destination for adults craving indulgence and an escape.
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The campaign was originally scheduled for 20 months and featured the tagline
"What happens here, stays here." After achieving considerable success it continued
into 2005, appearing across print, internet, out of home, and television platforms.
It differed from previous LVCVA campaigns, which advertised Las Vegas’ hotels, golf
courses, and entertainment and focused on true stories of people usually in their
twenties or thirties, who were suspiciously vague about what they actually did
during recent Las Vegas visits.
Controversial from the beginning, "Vegas Stories" commercials were banned from
airing during the 2003 Super Bowl and Las Vegas businesses voiced their difficulty
airing during the 2003 Super Bowl and Las Vegas businesses voiced their difficulty
in hiring out‐of‐state employees after the campaign's tagline boasted a Las Vegas
“immoral side.” Even the state Governor was initially critical, though the he
changed his mind after the campaign demonstrated its success by reversing Las
Vegas' visitor decline. In 2004 the city hosted 37.4 million visitors, 2.4 million more
than in 2002.
Levi’s brand advertising resurfaced in the mid 90’s after a slump in denim
popularity in the 80’s only to face a new flank of competitors. Levi's had long
battled Lee for the top spot in the denim category, with designer labels such as
battled Lee for the top spot in the denim category with designer labels such as
Calvin Klein and Guess not far behind. In the early 1990’s, a third contingent
entered the arena as major department stores introduced their own private‐label
brands. Levi Strauss & Co. set out to rebuild brand awareness and excitement for
its signature 501 jeans with a new generation of American teenagers as its target
To capture the attention and market share of male teenagers, Levi Strauss & Co.
launched a campaign that would strengthen and update the image of its 122‐year‐
old button‐fly 501’s. The resulting "501 Reasons" campaign took an irreverent,
humorous look at assorted “501 Reasons” why they were the ultimate blue jeans.
The campaign appeared in print, on television, and used out of home executions.
Out of home advertising appeared on buses, bus shelters, and telephone kiosks
and the 501 red ball was projected or painted onto the sides of buildings in urban
The campaign was a hit with consumers Unaided brand awareness rose from 22 to
The campaign was a hit with consumers. Unaided brand awareness rose from 22 to
35%, with unaided advertising awareness increasing from 19 to 28%. Levi Strauss's
projected full‐year net income for 1995 was significantly higher than 1994, with a
record breaking fourth quarter. Despite the fact that the market for wide‐legged
jeans continued to flourish in the mid‐1990’s, sales of 501’s remained strong.
In the eight years after their introduction in 1986, Dockers had generated more
than $1 billion in sales but, in 1994, the brand saw its first drop in sales. Dockers
faced increasing competition from designer and private label brands of men s
faced increasing competition from designer and private label brands of men's
casual clothes, but it was also losing its appeal among younger male consumers in
their 20’s and 30’s. In order to energize the Dockers image, Levi Strauss & Co
launched a new advertising campaign that sought to win over younger men to the
brand. The "Nice Pants" campaign, which consisted of television, print, and out of
home components, marked a radical shift in the brand's marketing efforts.
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The campaign was initially launched with out of home billboards, which
incorporated an actual pair of Dockers khakis and the tag line "Nice Pants." Later
Levi Strauss shifted the campaign's focus to television commercials. These spots
featured an attractive man whose pants were admired by strangers. Billboards and
transit ads were displayed in major American cities, including Atlanta, Houston, Los
Angeles, New York, and Minneapolis.
Not only did the brand's decline in market share stop but sales of Dockers
rebounded strongly during the campaign. By 1997, the market share held by
Dockers was more than double that of its closest competitor. By 1997, an
Dockers was more than double that of its closest competitor By 1997 an
impressive 70% of American men aged 25 to 49 owned at least one pair of Dockers
khakis (compared to the 58% who owned a pair in 1994).
I’m Lovin’ It
By 2003, after nearly 50 years as the king of fast food, McDonald's Corporation was
suffering an identity crisis. The company's revenues were shrinking and it was
forced to lower its earnings expectations for 2002. To reconnect with customers,
forced to lower its earnings expectations for 2002 To reconnect with customers
the company planned remodeling projects in more than half of its US stores,
revamped its menu offerings to include healthier choices, and, to rebuild brand
identity, it launched a worldwide marketing campaign, "I'm Lovin' It," featuring pop
singer Justin Timberlake.
In addition to the television spots, the campaign included posters,, ceiling graphics,
and kiosk ads.
In November 2003, McDonald’s reported the biggest single‐month increase at its
US restaurants in more than five years, lifting them to an impressive 8.4% gain in
comparable sales against the previous month which the company attributed in
part to the first full month of the new advertising campaign.
Unlike Any Other
In 2001, Mercedes‐Benz USA (MBUSA) sat in third place in the U.S. luxury
automobile market, behind BMW and Lexus. The launch of the brand’s new SL500
in 2002 represented an opportunity to gain market share with the Unlike Any
in 2002 represented an opportunity to gain market share with the "Unlike Any
Other" campaign. Since the new automobile had an $85,000 price tag, the goal
was to remind Mercedes' customers of the SL500's “automotive excellence, style,
Launching the week of March 11, 2002, the "Unlike Any Other" was seen on both
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local and national cable networks. Print advertising was used in major newspapers
and magazines. Further support came through an out of home as well as radio and
interactive advertising, relationship marketing, with emphasis placed on building
long‐term relationships with customers and collateral material including as sales
The months following the launch of "Unlike Any Other" saw an increase in
MBUSA's sales, which peaked in July 2002, when 14,937 new vehicles were sold
causing a seven‐month year‐to‐date sales record for MBUSA of nearly 118,000 cars
In 1997, Mercedes‐Benz of North America was at its peak, sales were strong, its
products were highly rated by industry analysts, its consumer market was loyal and
it was introducing its largest product line ever. Despite the success, Mercedes
planned to expand their market share while maintaining their existing customer
A new brand campaign, Mercedes' first since the early 1990’s, was intended to lay
the foundation for product launches later in the year. It broke in mid‐February
the foundation for product launches later in the year It broke in mid February
1997 with a 30‐second commercial on primetime network and cable television.
The television component was accompanied by six print ads, as well as out of
home that included transit and airport ads. The ads targeted a new younger
market, emphasized visuals, dispensed almost completely with product
descriptions, and incorporated humor, whimsy, and even raciness.
descriptions, and incorporated humor, whimsy, and even raciness.
Mercedes' sales continued to increase through 1997 growing 14.4 % by August. In
March 1998, almost exactly one year after the branding campaign was launched,
sales were up 69 % from the previous March.
Zug. The Other MINI
For seven years, the MINI brand consisted of one model—the MINI Cooper—in two
styles, hardtop and convertible. Therefore, the launch of the Clubman in 2008
provided a unique opportunity to reinvigorate the MINI brand with an all new
brand. Because of the great success of its earlier ad campaign, the MINI Cooper,
while iconic and endearing, was becoming far more familiar and less edgy. Given
this increased visibility, the Clubman needed to be disruptive.
Beginning two weeks before the Clubman launch, teaser out of home appeared in
key influencer markets. The teasers simply said “Zig” and “Zag.” Zig. Zag was
key influencer markets The teasers simply said “Zig” and “Zag ” Zig Zag was
ubiquitous through markets— on steps, on posters, on walls, on bus shelters, in
transit stations but with no logo and no overt branding. On launch day the out of
home postings expanded and the Clubman joined the family as “Zug. The Other
MINI.” This was supported by national television spots that highlighted the unique
design and performance of the Clubman and print and out of home which
design and performance of the Clubman and print and out of home which
developed a more edgy tone with headlines like “Baby Got Back,” “Badonkatrunk,”
and “Someone's Been Sleeping Around.”
During the campaign, the MINI brand increased 36% as a top‐of‐mind first choice
for people planning to buy a small car. Within three months after the launch, the
Clubman waitlist grew to four months as MINI reached an unprecedented number
of preorders for the Clubman with 90% of the Clubman models on their way to the
US sent as special‐orders for customers. Due to the Clubman launch, MINI sales
reached historic levels and, during the Clubman launch from January to June 2008,
MINI experienced growth of 40%, while the total industry was in decline. Although
sales of small cars were also growing, MINI far outpaced them.
sales of small cars were also growing MINI far outpaced them
Wake Up And Drive
In August 1998, mired in a slump caused by sinking sales, a dwindling market
share, an anonymous image, and an ill‐defined marketing effort, Mitsubishi saw
the introduction of an updated version of its midsize sedan, the Galant, as an
the introduction of an updated version of its midsize sedan the Galant as an
opportunity to reinvigorate the company's image.
The resulting $50 million campaign, tagged "Wake Up and Drive," focused on TV,
with supporting print, out of home, and Internet elements. The commercials
positioned the Galant as an alternative to the staid family sedan with the theme
that responsible adults could remain youthful at heart and choose their
automobiles accordingly. As Mitsubishi began to find success with this campaign, it
put its entire $180 million budget behind the theme featuring the full range of
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Mitsubishi successfully created a youthful and energetic brand identity, surpassing
Volkswagen with the largest portion of under‐35 driver segment. By September
1998, Mitsubishi had sold 4,691 Galants (compared to 2,366 the prior year) but by
year's end the number had shot up to 44,202. The 2000 Eclipse redesign was
equally successful, and surging sales of these two models helped the company
achieve record‐breaking sales in late 1999.
achieve record‐breaking sales in late 1999
Montana Meth Project
Not Even Once
Methamphetamine usage was at crisis levels in rural parts of the United States. In
2006, Montana had the highest percetnage of teenage methamphetamine usage in
the country. The Montana Meth Project was established to prevent first time use.
the country The Montana Meth Project was established to prevent first time use
The campaign used high profile media featuring TV, radio and out of home. TV was
used to convey an emotional message. Radio carried real‐life testimonials from
those suffering from addiction. Both of these formats were supported by out of
The campaign succeeded in raising awareness. In a survey of teens and parents,
there was a 10% increase of awareness for at least eight of the 14 significant risk
factors associated with trying meth.
It’s Coming Back
Nineteen year old Shawn Fanning created the file sharing website Napster in 1999.
The growth of Napster and similar sites created a panic in the music industry and
singled out Napster, forcing it to shut down in 2001. Two years later Roxio, Inc.
singled out Napster forcing it to shut down in 2001 Two years later Roxio Inc
purchased Napster's assets and formed licensing agreements with recording
companies while repackaging Napster as a website to download music legally. The
"It's Coming Back" campaign was launched in 2003 to attract older, paying
customers without alienating the former Napster members.
The "It's Coming Back" campaign surfaced in June 2003 with nine short internet
films, three of which were used as television commercials in October 2003. Before
these launched, teaser campaigns in out of home and print were released. One
teaser involved dividing Napster's logo, the "kitty" head, into three different
billboards and displaying them along Sunset Strip in Los Angeles. In major cities,
poster were used with stickers depicting the Napster "kitty.” The stickers were a
separate element and made to appear as guerrilla placed Xerox images was
A month after the television spots first aired, www.Napster.com registered 3.2
million visitors surpassing iTunes' 2.7 million visitors. During the last quarter of
million visitors, surpassing iTunes 2 7 million visitors During the last quarter of
2003 Napster had more online traffic than any other music‐shopping website. The
new, legal Napster achieved more profit than its earlier version ever did and sales
between 2004 and 2005 increased by 53% to $46 million.
Enjoy the Ride
Launching in August 1996 and continuing to late 1997, Nissan’s “Enjoy the Ride”
campaign was the company’s biggest in its history with ad spend second only to
General Motors The campaign focusing on brand identity rather than individual
General Motors. The campaign, focusing on brand identity rather than individual
models, was designed to remind customers that Nissan cars were fun to buy and
drive. The campaign also stressed the company’s belief that consumer feedback
and car‐buying experiences were important.
The campaign inevitably used a wide range of media. Out of home ran together
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with television and radio with ads appearing on buses, billboards and benches
featuring an elderly Japanese character known as Mr. K who was based on the ex‐
president of Nissan, Yutaka Katayama.
In 1996, brand awareness increased from 15 to 42% and likability doubled.
Palace Sports & Entertainment – Detroit Pistons
Goin’To Work. Every Night.
After successes in the late 80s, the Detroit Pistons experienced a decline that
lasted for over a decade both in terms of results and in terms of audience levels. To
reverse this latter trend at least, the parent company, Palace Sports &
reverse this latter trend at least the parent company Palace Sports &
Entertainment, launched the “Goin’ to Work. Every Night” campaign for the 2001‐
02 season, identifying the team with the hard working, industrial culture of Detroit.
Focusing on engagement with blue‐collar fans, the campaign ran on a small budget
over TV, radio, direct mail, print, Internet and out of home including six metal “help
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wanted” signs positioned in the arena which continued though the 2003‐2004
season when the Pistons won the NBA Championship.
The campaign exceeded all three goals for the 2001–02 season:
•Attendance increased by 32 % over the previous season; 15 % above the goal.
l f i k h ld i df 60 % d i h 2000 01
•Renewal rate for season‐ticket holders increased from 60 % during the 2000–01
season jumping to 90 %; 80% above the goal.
•The number of sell‐outs increased three in 2000–01 season. By January 2006, the
Pistons had recorded more than 100 consecutive sell‐outs.
Partnership for a Healthy Mississippi
The objective of the 'Question It' campaign was to reduce smoking prevalence
among Mississippi teens by giving them the facts about tobacco use and tobacco
marketing and by encouraging them to question their status as a target of the
marketing and by encouraging them to 'question' their status as a target of the
tobacco industry. The campaign presented Mississippi teens with messages about
industry manipulation and tobacco's hazards.
Television, both network and cable, was chosen as the primary medium,
supplemented by radio, out of home and Internet promotions.
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According to figures reported in the 2000 Mississippi Youth Tobacco Survey
(published June 2000), Mississippi public high school smoking was down 10%,
public middle school tobacco use had fallen by 21%, African‐American middle
school smoking fell by 31%, African‐American high school smoking decreased by
19%, and middle school smokeless tobacco use has decreased by 17%.
19% d iddl h l k l b h d d b 17%
Life is Calling. How Far Will You Go?
The Peace Corps, created in 1961 during the Kennedy administration, had received
a steady flow of recruits through the 60’s and 70’s but its image became outdated
and by 2002 the number of recruits was dwindling as it was more difficult to
and by 2002 the number of recruits was dwindling as it was more difficult to
convince college graduates to sign up for a 27‐month commitment.
“Life Is Calling. How Far Will You Go?” marked a change in targeting, away from
new college graduates to a personality type described as “Unfulfilled Idealists,”
optimists with an expansive worldview and a search for fulfillment. The campaign
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included television, print, radio, and billboard advertisements and appeared in 27
markets, including Washington, D.C., Philadelphia, San Francisco, Detroit, and
Atlanta. Out of home posters also appeared on Metrorail and Metro bus signs in
the Washington, D.C. area.
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The campaign helped to increase the rate of Peace Corps applications by 20% in
just nine months and the Peace Corps' website traffic increased by 73% over the
previous year. Total website, email, phone, and mail inquiries increased 47%. By
2004, the total number of Peace Corps volunteers had reached 7,733 which was
more than the agency had reported anytime in its 29 years.
The Not‐So‐Vanilla Vanilla
Pepsi Vanilla was created in direct response to the successful introduction of
Vanilla Coke by Pepsi's long‐time rival Coca‐Cola. Cola volume, which had peaked in
1988 but volume was down by 2002. In reaction, cola companies expanded their
1988 but volume was down by 2002 In reaction cola companies expanded their
soft‐drink varieties. PepsiCo introduced Pepsi Vanilla and its low calorie
counterpart, Diet Pepsi Vanilla, in August 2003.
The campaign implied that Vanilla Coke's taste was overbearing and behind the
times. Pepsi Vanilla's comprehensive campaign featured print, out of home, and
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online advertising as well as television. Out of home ads were installed in densely
populated urban areas.
Within the first two months of the campaign's introduction, sales of Pepsi Vanilla
were increasing and the product earned a market share of 1.4% in the
convenience‐ tore category and 1.6% in the mass‐market channel, surpassing the
company's goal of 1% share. Vanilla Coke's market share dropped by approximately
1% immediately following the launch of Pepsi Vanilla. Sales of Pepsi Vanilla
remained strong the following year.
Rock the Vote
Yes/No Ballot Box
Two years after its founding in 1990, Rock the Vote was credited with the second
largest turnout of 18‐24 year olds in America’s voting history. However, in
subsequent years the number of young electors decreased steadily and the
subsequent years the number of young electors decreased steadily and the
“Yes/No Ballot Box” campaign was launched to reverse this trend for the 2000
The campaign ran across various media channels, including print, radio, out of
home, television, and Internet featured provocative images associated with
contemporary issues with yes/no check boxes alongside each image.
Rock the Vote registered 565,000 new voters.
Born From Jets
In the early 2000’s, Saab’s long‐term positioning as “Intelligent cars for intelligent
people” had resulted in flat sales, dispirited dealers and a franchise in danger of
being pulled from the US marketplace. To grow volume, Saab appointed a new
being pulled from the US marketplace To grow volume Saab appointed a new
general manger in 2005 as well as a large portfolio expansion and a campaign
focusing on performance based on Saab’s jet associated heritage. Saab had been
founded by aircraft engineers.
“Born from Jets” was launched in October 2005 using a wide range of media
including television, radio, print, out of home, direct mail, online and point of
As well as increases in awareness and interest, January 2006 recorded the best
sales month in recent history with year‐over‐year sales gains of over 34% and Q3
2006 exceeded sales objectives with a target of 9,255 new car sales and an actual
2006 d d l bj i ih f 9 255 l d l
sales volume of 9,648 new cars.
Shaving Made Simple
For many years, Schick‐Wilkinson Sword sales were a distant second to Gillette
Company in all categories related to the global shaving products market. However,
in the late 1990’s Schick recognized an opening in the women's grooming category
in the late 1990 s Schick recognized an opening in the women s grooming category.
Unlike previous products which were essentially repackaged male products for
women, Schick decided to develop a shaving line specifically intended for women
and in 2003, launched a three‐blade pivoting razor with a conditioning soap that
provided its own lather, ideal for use in the shower.
The goals of the "Shaving Made Simple" campaign were to introduce the Intuition
product, educate women about how it worked, motivate them to change their
shaving behavior, and to try the product. It was launched in April 2003 and
included television, radio, print, Internet, and out of home elements, all of which
took a humorous approach to the problems women had shaving with traditional
The "Shaving Made Simple" campaign succeeded in doubling Schick's share of the
women's shaving market and, although Gillette responded vigorously with the
Venus and Quattro for Women products, it was an important step in Schick
becoming a greater challenge to Gillette in the global shaving market.
becoming a greater challenge to Gillette in the global shaving market
Snickers Marathon. The Energy You Crave
In October 2003, Mars, Inc.'s newly created food division, Masterfoods USA, began
a teaser campaign to let consumers know that a new energy bar was about to be
launched. Snickers Marathon bars, which came in two flavors, Multi‐Grain Crunch
launched Snickers Marathon bars which came in two flavors Multi Grain Crunch
and Chewy Chocolate Peanut, appeared in January 2004. The new product was
designed to appeal to the loyal candy‐bar customer who already used the Snickers
bar to satisfy hunger but wanted a healthier, protein‐based energy bar more suited
to their daily workout needs. The goal was to convince discerning, health‐conscious
consumers that Snickers Marathon was a nutritious energy bar with the taste of a
candy bar. The bars were aimed at taking some of the estimated $1 billion market
share away from industry leaders Power Bar and Balance Bar along with other
energy bar makers.
Print ads were placed in health and fitness magazines to pave the way for a
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comprehensive media campaign called "The Energy You Crave." Television spots
took up 75% of the budget with the rest split between print, out of home, and
online advertising as well as public relations, point‐of‐purchase displays, and
promotional functions. The television spot kicking off the campaign showed
athletes at their limit, engaging in activities such as running and weight lifting.
Billboard ads were placed in the top 10 energy‐bar markets regions that made up
Billboard ads were placed in the top 10 energy‐bar markets, regions that made up
approximately 10% of the US population.
Mars, satisfied with the performance of the campaign and product sales in the first
months of 2004, introduced two more Snickers Marathon varieties at the end of
that year when Snickers Marathon was among the top five fastest‐selling energy
bars in all stores.
Special K Kick‐Start Diet Plan
In 2001, the Kellogg Company's cereal division failed to register a significant profit
increase for the company and so, in order to grow sales quickly for Special K,
Kellogg introduced a diet plan in 2002. The Special K Kick‐Start Diet instructed
Kellogg introduced a diet plan in 2002 The Special K Kick Start Diet instructed
participants to replace breakfast and lunch with a bowl of Special K and skim milk,
promising a loss of up to six pounds in two weeks, offering body‐conscious
consumers an alternative to complex and unsatisfying weight‐loss options.
The campaign was scheduled to run in the forth quarter of 2002 and in the first
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quarter of 2003, a time when consumers are conscious about making New Year’s
Resolutions. It featured TV, print, out of home and online. The media team focused
on the places where women thought about their weight, ensuring their target
consumer viewed the Special K ads when they were most receptive to the weight‐
loss message, such as the doctor's office or in dressing rooms. Hundreds of displays
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were placed in locations where women in particular would be thinking about their h
appearance or health. For instance, in hair salons the ad read, "The right hair cut
can make you look slimmer. This actually helps make you slimmer."
The campaign resulted in a 22% increase in sales of Special K by the end of 2002.
There was also significant improvement for Kellogg s cereal division, which
There was also significant improvement for Kellogg's cereal division which
recorded a 7% rise in overall sales in 2003.
A common marketing practice among telecommunications companies is to for
advertising toward specific niche features. For example, Verizon advertises its
coverage. Nextel, distinguished by its walkie‐talkie feature called Push‐to‐talk, was
coverage Nextel distinguished by its walkie‐talkie feature called Push‐to‐talk was
commonly used by construction crews, technicians, and government agencies that
relied on Push‐to‐talk capabilities. To increase market share within this niche,
Nextel launched its "Nextel. Done." campaign to position itself as the most
efficient, work‐related telecom provider, one that allowed communications
The campaign used television, print, radio, Internet and out of home advertising.
Starting in September 2003, bright‐yellow out of home ads with the word "Done"
were posted in cities nationwide. Subsequently, newspaper ads featured copy such
as "Stop believing that whoever talks most in the meeting wins” while nine
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television spots humorously showed people using Nextel's Push‐to‐talk feature to
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accelerate their jobs and other life events, such as weddings.
By the end of 2004, Nextel had posted more than $13 billion in sales, a 23.5%
increase over 2003.
Tourism New Zealand
100% Pure New Zealand
From 1994 to 1999 there was a serious decline in New Zealand’s tourism revenue.
The marketing of New Zealand as a travel destination was highly fragmented and
inefficient with different campaigns supported independently in different markets
inefficient, with different campaigns supported independently in different markets.
In 1999, the decision was made to totally re‐structure and concentrate marketing
investment by presenting one, consistent brand identity for New Zealand on the
The global concept for New Zealand moved away from the standard industry
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model of presenting the country as a collage of attractions competing with similar
attractions elsewhere but rather centered on experiences that are authentically
New Zealand: pristine landscape, natural rawness, freshness, mythical spirituality,
vitality, isolation from harm, warm friendliness and character. The campaign
consisted of out of home campaigns in Los Angeles, San Francisco and New York,
features on the Discovery Channel supplemented with spots on Animal Planet and
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Home & Leisure channels and tactical leveraging of Lord of the Rings, which was
filmed in New Zealand.
The total number of tourists visiting New Zealand increased by 13% over the
subsequent three years and this growth was far greater (17%) from Tourism New
subsequent three years and this growth was far greater (17%) from Tourism New
Zealand's four key markets (USA, UK, Australia and Japan).
Who Could Ask For Anything More?
From the mid‐1970’s to the late 1980’s Toyota's advertising evolved rather than
abruptly changed. Protective of its reputation for reliability and quality, Toyota
cautiously aimed to reinforce those beliefs while making consumers associate
cautiously aimed to reinforce those beliefs while making consumers associate
additional positive traits with its vehicles. The "Who Could Ask for Anything
More?" campaign came at a time when Toyota wanted to build more emotional
appeal after years concentrating on a primarily rational message. The company
hoped the theme would be easily remembered and inspire positive feelings,
because it was also the name of an old popular tune by George Gershwin.
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The campaign ran from 1985 to 1990 after the previous campaign’s “Oh What a
Feeling” had been enormously successful and possibly the best recalled of any
foreign car maker. Initial response was not as positive as had been hoped and two
years after introduction, the words “Toyota Quality” were added to the tagline.
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The campaign embraced a variety of media with the budget split between
television receiving 75% of the ad budget, 20% to print, and the remainder to out
From 1971 to 1988 Toyota sold 10,416,670 cars and trucks in the United States and
increased its market share from 2.4% to more than 11%.
increased its market share from 2 4% to more than 11%
On the Inside
Although TV Guide was ranked among the top three magazines in 2003, its
circulation had dropped by 30% since 1998 and it was losing advertisers. Ad pages
sold by the publication had decreased by 11% in 2002. The first stage of reversing
sold by the publication had decreased by 11% in 2002 The first stage of reversing
this trend was to change the magazine itself, adding more editorial content with
more celebrity stories, more reports and more programming recommendations.
The "On the Inside" campaign, which began in 2003, had the tagline "We see
everything" and had two phases. Phase one of the campaign was created to alert
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media buyers about the magazine's new format and included print and out of
home ads. Signs appeared in magazines and on billboards, buses, and on building
murals featuring slogans that made humorous references to the television industry,
such as "Like everyone else, we're having a little work done," "New look, new style,
new attitude. Soon we'll be dating models half our age," and "We're back from
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rehab and ready to party." Phase two, targeted at consumers, included television
spots, radio commercials, and print ads that emphasized that readers would find
out all there was to know about the television business if they read TV Guide,
because the publication's team of reporters were always working to get the inside
story for its readers.
Phase one, aimed at media buyers, reversed a three‐year decline in advertising
sales. Phase two's message led to a 40% jump in newsstand sales in September
2003 compared to the prior three months. New subscribers were also attracted,
nearly 10,000 a week compared to only several hundred new subscribers a week
before the campaign began.
In 2001, First Union Corporation acquired its smaller in‐state rival, Wachovia
Corporation, and the new entity took the Wachovia name becoming the nation's
fourth largest bank
The "Uncommon Wisdom" campaign broke in the summer of 2002 with the intent
of raising the brand's profile and introducing the various capabilities Wachovia was
now able to offer as a result of the merger. In television and print, the campaign
used common occurrences and objects, such as motorcycle handlebars and
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haircuts, as metaphors to communicate the idea that wisdom could be found
everywhere and that Wachovia had the unique ability to identify and use its
wisdom on behalf of its customers.
This concept was rolled out with spots supporting Wachovia Securities, and
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Wachovia's retail businesses. To overcome the disparity between Wachovia's new
size and the relative obscurity of the brand name, advertising was placed in new
markets to teach customers how to pronounce the company name. Eight television
spots led this portion of the campaign, supported by print, radio, and out of home
In 2005, company profits had grown at an annual rate of 13% over the four‐year
period after the merger with First Union.
No Matter What
In 2001, Wrigley Company introduced Orbit gum in the United States supported by
a campaign titled, "No Matter What." Orbit was different from other Wrigley
brands including Double Mint and Juicy Fruit because it was sugar free The
brands , including Double Mint and Juicy Fruit, because it was sugar‐free. The
introduction of Orbit in the United States occurred at a time of increasing
emphasis on dental health and increasing competition among gum products.
The "No Matter What" campaign sought to target a market of working people and
their families between the ages of 18 and 49. Television spots, which accounted for
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87% of the total budget for the campaign, were aimed at demonstrating how Orbit
could leave a mouth clean "no matter what." The television spots were supported
by other media, including print ads and place based out of home ads that
appeared in places like taxicabs.
In 2004, just three years after Orbit had been introduced, the gross sales of all
Orbit products in the United States exceeded $90 million, and the gum was
outselling second‐place Trident. Further, Orbit was accounting for one‐third of