by clicking the arrows at the side of the page, or by using the toolbar.
by clicking anywhere on the page.
by dragging the page around when zoomed in.
by clicking anywhere on the page when zoomed in.
web sites or send emails by clicking on hyperlinks.
button in toolbar for more information.
Email this page to a friend
Search this issue
Index - jump to page or section
Archive - view past issues
Please subscribe by clicking on the link to receive
Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September 2010
27 SEPTEMBER/OCTOBER 2010 CAMPAIGNBRIEF RADIO 26 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 THE SIREN AWARDS ARE NOW into their sixth year. I think everyone would agree that for a relatively new Awards program, Sirens has had some great results. What is great about the quality of the Siren Awards is how the win- ners have been recognized on the world platform at Cannes. In 2007 the Gold Siren Winner Paul Reardon won the Grand Prix Radio Lion at Cannes with an ad for Snickers called “Hoedown”. Then 2008 Sirens winner, an advertisement for RACV Financial Services called “Disclaimer”, writ- ten by Paul Reardon and Julian Schreiber from Clemenger BBDO in Melbourne, won a Silver Radio Lion at the Cannes Advertising Festival. This year, ten of the seventeen Australian radio ads shortlisted for the Radio Lions at the Cannes Advertising Festival were Siren Awards winners. There is no doubt the win at Cannes in 2007 helped establish the Siren Awards as a credible cre- ative award - and I am sure a trip for two to Cannes for the winning creatives and entry in the Cannes awards helps maintain their popu- larity! Each year the Siren Awards con- tinue to raise the bar in terms of creativity and originality. This year there were nearly 600 entries. And entries come from throughout the country – this year there were final- ists from Perth, Brisbane, Melbourne and Sydney. There are some new initiatives that have been introduced for the 2011 Siren Awards. The round judging will now include two judges from the Siren Creative Council as well as the winner of the previous round. This will assure an objective approach to the judging but still maintain the important involvement of the winners of the previous round judging the next round. The 2011 Siren Awards will also include an additional award known as the Siren Client Award. This will be won by one of the five over- all round winners and will be judged by a panel made up of clients – rather than agency creative directors. The client panel will be made up of the clients who com- missioned the winning Gold and Silver Siren winners from the year before and invitations will also be made to specific category guest judges. The Award will be a cash prize of $5,000. Of course – with the launch of digital radio in Australia and the new advertising opportunities and benefits for clients it presents, it is inevitable that in time, the Siren Awards will also introduce a Digital Award. More details will be made public once they are finalised. The Siren Awards website has also been given a fresh look to pro- vide the latest information and news on the Awards in general. The radio archive of past winners on this website is a great resource for ideas and inspiration and has been improved to allow for easy access to an extensive range of ads. The 2011 Siren Awards are now underway, get those entries in and visit the website: sirenawards.com.au NEW COMMERCIALS, AS PART OF A multi-million dollar radio brand campaign, have begun on air nationally last month and highlight that commercial radio can reach over 16 million Australians in an average week. The cumulative listening figure, combining metropolitan and regional listening survey figures by The Nielsen Company, highlights the ability of radio to reach an extensive number of people each week as well as target a range of dif- ferent people. The ‘Australia’s Listening’ spots feature everyday Australians includ- ing a teenager, busy professional, tradesperson, mother and banker all being interviewed by “That Radio Bloke” (Mark Mitchell) in a humorous way about why and how they listen to radio. Joan Warner, chief executive offi- cer of Commercial Radio Australia, said the campaign aims to highlight radio’s very strong reach, its acces- sibility and its cost-effectiveness. “Radio can now be accessed on analogue radio, digital radio, via the web, on mobile phones, via pod- casts – more than ever before. Busy, mobile Australians are particularly strong radio listeners because of its accessibility while they are on the go – at work, driving, relaxing at home or using the internet,” Ms Warner said. The commercials were written by the award winning radio specialist agency, Eardrum. Creative director of Eardrum, Ralph van Dijk said: “Commercial radio delivers huge audiences and by featuring different listeners talk- ing about their particular station, we also remind advertisers of how targeted it is. “Marketing budgets are under increased scrutiny so it's important that the campaign reiterates radio’s unique strengths. The campaign line ‘Australia’s Listening’ also reminds advertisers that radio’s audience is actively engaged in the content,” Mr van Dijk said. The ads are part of the successful, ongoing multi-million dollar radio brand campaign and will go to air over two phases. They follow the most recent campaign launched at the start of this year which featured marketers talking about why they use radio and listing its benefits as providing a personal connection and direct response, and being cost effective and reaching a mass audi- ence in a very targeted way. Previous ads in the radio brand campaign, first launched in June 2003, have included the world’s funniest man, John Cleese, as well as spots highlighting the effective- ness of combining radio advertising with television and also online, as well as targeting niche markets. GetyourcopyoftheCD–or access the Siren Website Don’t forget to collect the Free CD on the cover of this issue of Campaign Brief! This CD showcases the winners in the 2010 Siren Awards and 2010 Cannes Radio Lions, this bonus audio CD is not to be missed. It’s an invaluable library of some of the best radio ads in the world and is courtesy of the Siren Awards. The Siren Awards Website is a Radio Ad Archive providing you with an extensive audio resource including current and previous Siren Award winners and Cannes Radio Lion winners. Listen to more of the 2010 Siren Awards entries and the 2010 Cannes Radio Lions via the Siren Website: www.sirenawards.com.au New brand campaign highlights that commercial radio can reach over 16 million Australians in an average week New initiatives for 2011 Sirens By Joan Warner, chief executive officer, Commercial Radio Australia THERE WERE A FEW CONSPICUOUS absences from this year’s Cannes Lion’s Radio awards. No Grand Prix, no shortlist for the Gold Siren winning Tena spot, and no Bud Lite in sight. But there’s more to this than meets the ear. Rather than being tight fisted, the jury actually award- ed 54 Lions in total – the second highest tally yet. They would have awarded the Grand Prix to the excellent Red Cross campaign by Leo Burnett Columbia, had it not been in the charity sector. As for Bud Lite, I spoke to cam- paign co-creator Mark Gross and they’ve stopped entering it. We should be satisfied with Australia’s tally of 7 silver, 5 bronze and 5 short listed. That’s recogni- tion for a quarter of all Australian entries, which is similar to NZ and well above South Africa and the UK. Even without Bud Lite, the USA still dominates the category, receiving recognition for a third of all of their entries. I was particularly pleased at the success of the HBF (Meerkats) and McDonald’s (DDB Sydney) cam- paigns – and not just because we directed them. You could have heard a pin drop when they played the HBF campaign in the Grand Palais, and the applause that fol- lowed reminded us that winning at Cannes is not always down to sur- vival of the funniest. Emotional ads are extremely powerful on an inti- mate medium like radio and they shouldn’t be limited to charity briefs. The Grand Angus McDonald’s campaign justified all the hidden mic logistics and rewarded the trust placed in us by a client not always known for taking creative risks. The two trends I’ve noticed this year would be an emphasis on pro- duction values and talent perfor- mance, most notably in Clemenger BBDO’s excellent Chum campaign, and a higher proportion of long, eloquent monologues. DDB NZ’s Pollock spot for Sky TV is a good example. But as always, simplicity is the key on radio. Once you’ve cracked the brief with a bit of relevant clever- ness, knowing what to take out is often harder than knowing what to put in. The winning ads achieved this art of reduction with aplomb. I’ve also judged Clio & D&AD recently and I’m seeing more great thinking outside the ad- break. In fact I ran a workshop at Cannes this year called The Ad-Break Is Broken, and we looked at how to extend a creative idea in to radio pro- gramming. There are now specific categories for this at Cannes and D&AD and we’re working on more and more of these briefs. The best example this year was the radio sub- titles idea for a lan- guage school by LEW’LAR\TBWA São Paulo. They simply used the radio station’s RDA txt display to show a Portuguese translation of all their English songs. My final highlight for Cannes 2010 would be the Cannes Lions Beach Football World Cup. Of the 16 nations we were the surprise package, reaching the semis and only losing to the eventual winners Netherlands. With a name like van Dijk, it’s safe to say I had a bet each way. Ralph van Dijk (right) at Cannes this year with Philip Maes from Eardrum Belgium By Ralph van Dijk, creative director, Eardrum and creative consultant, Commercial Radio Australia Cannes: bunchofmean prix? FIRST IN ENTERTAINMENT MEDIA SOLUTIONS
May June 2010