At its simplest any strategy is a longer term view of a plan, a way of achieving a longer term objective.

Of course that isn’t enough.  Anyone can write a longer term view.  What you need, (or otherwise what’s the point?), is a winning strategy.  And a winning media strategy will contain three elements:

• A simple diagnosis of what is going on.
• A strategy or system of winning against the competition.
• A plan or set of actions that carry this out.

Let’s use an example that the writer Richard Rumelt explains in his  book Good Strategy, Bad Strategy.

At the Battle of Trafalgar the English Navy led by  Admiral Nelson was outnumbered by enemy ships.  A traditional sea battle in the 18th century meant the opposing forces lined up against each other and fired until one side won.  Nelson’s diagnosis was that this meant that his ships would be sunk if he followed this conventional approach.  His strategy in this situation was unexpected and indeed unheard of. Nelson decided to use his existing resources to surprise the enemy.  His plan was to drive his ships in a wedge shape through the opposition line up, attack from the rear and win a place in history, and in Trafalgar Square in London on top of his eponymous column.  He took out the competition by breaking the conventional rules, by using his resources available in a focussed and flexible way. 

This strategy resonated with me when I read the description for the first time, because it is similar to the very first media strategy I created.  One of my first planning accounts was Maxwell House coffee (which was big in the UK in the 1990s).  My job was essentially to plan the TV campaign, and I was taught to do this as follows:  Every month we ran about 400 television ratings, with ups and downs for seasonality, programme choices, regionality etc dependent on audience insights and growth opportunities.  I was excited when the client commissioned an econometrics project on effectiveness, it was my first experience of this. 150 slides later I was as disappointed as the client with the prognosis.  The research agency had concluded that it didn’t matter how Maxwell House spent their ad budget.  The only thing that impacted on sales was what Nescafe did with their advertising.  

The client wasn’t happy.  I however started thinking about what I could do about this.  My diagnosis of the data from the econometrics was different from that of the research company who had essentially said that there was nothing we could do to win.  We were month after month lining up against competition that had more resource.  The competition that at that time was running at 500 television ratings a month with a Nescafe ad, up against a  Maxwell House ad at 400. My diagnosis was that we needed to disrupt this face off.  So I adopted the Trafalgar strategy.  The media strategy that was developed was entirely based on beating the competition –  So the strategy became overwhelming the competition instead of following them.  Instead of a plan of 12 months of TV at 400 ratings a month, which was not cutting through, we instead ran 1200 ratings in one month each quarter.  And it worked.

 A good media strategy is not about just about efficient reach and following the rules of the category.  It is about cutting through and beating the competition.  Which might be about breaking the rules of the category. 

Just as a sea battle now is not based on sailing ships, a media strategy is not based on TV ratings. 

A media strategy must be rooted in genuine audience insight, that acknowledges the reality of how people watch, listen, interact in media.  Media is not just about reach. It’s about shopping, dating, gaming, socialising, influencing, self-affirmation, interacting, and researching. And about reaching people with brand communications in the broadest sense, and yes ads.  A good media strategy will create a framework for all the ways we can now communicate and deliver competitive advantage for the brand. 

The old rules that are based on past behaviours and average behaviours for the category will not suffice.  A winning media strategy will be directional for all aspects of the communication plan.

A media strategy should interact with, affect, and drive, feed and be fed by creative and data strategies (what do we want to communicate, what data do we need, what can we find and what will it do for the brand).  It will go beyond reach to set parameters and priorities for media planning in each available channel from retail media to CRM, from Connected TV to the Piccadilly lights, from search to social.

With my “Trafalgar” strategy I found the signals in the data from an econometric study. Today there are signals everywhere in data. Finding these, interrogating them at a granular, forensic, level and constructing a way to win is the core of a good media strategy.

I was a judge this year, of the Glass Lions category, which meant that most of Cannes experience was about the jury room.

Everyone that I know that has judged, always talks about how wonderful the rest of the jury are, and I can report that my jury were more than wonderful.

We were judging the category that celebrates culture shifting creativity.  It recognises work that addresses issues of gender inequality or prejudice, ideas intended to change the world.

Jury president, the inimitable Cindy Gallop, had served as president of this jury in its inaugural year a decade ago.  This particular award was set up with the intention and hope that it would become redundant, because the world would become a fairer place.  So far, it seems as though it is more needed than ever.

Our jury included a mix of people from around the world.  Maiko Ota, ECD Hakuhodo, who brought her translator.  KR Liu, global head of disability innovation at Google, who brought a distinct and important perspective on accessibility in the work we reviewed. Ren Rigby, who has their own design agency Proto, and who has recently transitioned.  Raphaella Martins, Creative X manager at Meta in Brazil who brought her 2 week old daughter into the jury room.  (Olivia had her own badge and I look forward to her returning in a couple of decades perhaps and winning her own Lion).  Nayla Tueni is ceo and editor in chief of Annahar Newspaper, which has its own heritage of award winning work, defending freedom of speech.  All the jurors were exceptional, shout out to Suresh Raj, Pia Chaudhuri, Koo Govender. 

Our chair Cindy instructed us to be skeptical about claims, and look for evidence of real change.  Our panel was an object lesson in mutual respect, divergent opinions, strong evidence based arguments, open mindedness and decisiveness. 

Our shortlisting process was rigorous, but the judging process was at another level.  For Glass (and Innovation and Titanium) the shortlisted entries are presented live, two presenters, ten minutes of presentation and ten minutes of q + a.  This phase was extraordinary, and in every case our minds changed, in one way or another, because of the presentations, and the answers to our questions.  The judging sessions are open to delegates to watch, and I will certainly be attending them if I am fortunate enough to go to Cannes next year. 

At the press conference Cindy talked about the outstanding Grand Prix winner, Vaseline Transition Body Lotion. 

Part of our debate was about the difference between a brand taking positive action for a small community versus a smaller action for a big community.  A crucial insight for me in the decision making process was that when a big brand does this, this action can have meaning for every underrepresented community.

Our gold winner is Pink Chip, which for the first time tracks women run businesses to give proof of their success.   In the UK there are fewer women ceos of FTSE 100 businesses than a decade ago.  Share prices can fall when a women is announced as boss.  The Pink Chip allows evidence, not prejudice, to inform opinions and investments.

Our silver and bronze winners were wonderful work too.  Silver Lions went to the Harpic Loocator, a crowd sourced app to locate and rate women’s loos.  (Please Harpic, bring this to London!), and to Lays Project Farm Equal, where there was significant and game changing investment in tools for women potato farmers, and help with creating pride in their community.  Bronze Lions went to Welcome to the Group, Child Wedding Cards (both of which are an object lesson in how to get politicians to change their minds), and 5 days, Give me a break (a revolution in paternity leave).

Cindy Gallop made a final, and crucial point at our press conference.  She said that she has in the past challenged our industry to ask whether its own patterns of behaviour are worthy of a Glass Lion.  We had seen, and debated at length in the jury room, some evidence that this is not the case, still.  We decided to judge the work on merit, but the behaviours exhibited when presenting, are indicative of the behaviours and attitudes behind the work.  Our industry can and must walk the walk as well as talk the talk on equality and equity.

Belonging for everyone, whoever they are, is not the norm in our industry still.  It was absolutely the experience for this juror of the Glass Lion experience at Cannes, and my gratitude goes to everyone involved in making this experience stand out as best practice in this respect. 

New vinyl, new gifting

I have missed the smell of vinyl.  Growing up, buying a record on vinyl (the main format when I was a teenager) was hugely exciting.  After months of saving up you would venture out to the quite intimidating record store, staffed by trendy young adults (everyone who worked in a record store was very cool).  The experience of buying it, and the almost religious experience of carefully unwrapping and playing for the first time was unforgettable. 

The smell of fresh vinyl was an intrinsic part of this.

This week, joyfully, I was gifted a new (old) vinyl record by my esteemed EssenceMediacom Connected podcast co-host Sacha Owusu, as we did our final podcast together.  Sacha is both extremely talented and kind.  I’ve had a blast doing the podcasts with him, getting to know him and seeing his career progress.

When streaming overtook cds (which had of course overtaken vinyl), it meant that you could no longer give someone the gift of an album of music easily.  Apart from the emotional impact of this (choosing someone an album of music to give them joy, show well you know them, and possibly to stretch their musical tastes in a new direction are all a way of showing deep friendship), it was surprising to some that the music industry collectively had shut down a revenue stream in gifting.  (The same is still true of movie dvds of course.)

So its brilliant that vinyl sales have revived, and to see the new (old) HMV store on Oxford Street.

The Economist recently pointed out that contradictory though it might seem in the era of streaming music many pop stars are still making albums, not just releasing songs, some of which end up of course on vinyl.

Billie Eilish declared that her record “Hit me hard and soft”, released in May 2024 was a “cohesive piece of work… ideally listened to in its entirety from beginning to end”.  No singles were pre-released.  Taylor Swift released four successive sets of new material this year with no advance singles.  Ariana Grande stressed that she wanted listeners to “experience the album in full this time” when she released Eternal Sunshine in March 2024.

Was it the Beatles who delivered the first concept album with Sergeant Pepper’s Lonely Hearts Club Band in the 1960s?  Or Frank Zappa’s Freak Out? Or the Beach Boys Pet Sounds. 

According to Wikipedia, the concept of the concept album was invented by Woody Guthrie in the 1940s. Let’s not forget Frank Sinatra’s Songs for Swinging Lovers.

A new business model for music has evolved where fans will buy the album on vinyl, and download and stream their favourite tracks, thus paying twice for the same sound.  So vinyl helps sustain music profits and allows artists to dominate the charts.  When she released Tortured Poets Department Swift claimed the top 14 spots in the Billboard chart.

An old idea having a renewed life cycle, vinyl allows fans to own something concrete and of classic design.  It allows artists to make additional income.  And it revives the ability to give someone you care about something that you think they care about or will love.  Plus, more people get to smell fresh vinyl. 

Old ideas are sometimes the way forward.

When you are in a stressful situation at work there are famously two reactions that you might feel: Flight or Fight. 

These ancient responses make sense if you think of a pre language situation, where danger, at the dawn of mankind, might be sensed by the snap of a twig in the antediluvian forests.  Your reaction, like any cornered animal, is fight or flight.

But these two Fs are not the only instinctive responses to danger.  There are in fact another 3.  So if you feel that Fight and Flight are not your normal gut reaction to stress, read on – here are the others.  Stress reactions are possibly inevitable in daily life, unless perhaps you are lucky enough to be able to avoid them.  But if not, like most of us, understanding what is going on, and even trying to turn your typical reaction to your advantage if possible (as I think might be true with one of the Fs), can help with dealing with the frictions of the workplace.

These are the other 3 Fs.

1. Flop: When you faint, become unresponsive, collapse.  Clearly a very dramatic response, especially in a work situation.  If this is your experience, you need to get out of any situation that brings this on as soon as possible. Don’t tolerate anything that threatens your health or peace.
2. Fawn: To please someone to avoid conflict.  If you are a people pleaser by nature then this might be your response to a difficult boss or colleague.  Could you even use this response to navigate difficulties?  In classic ad man legend this might be the perfect recipe for account handling a difficult customer.  The qualities demonstrated by Roger Sterling and Pete Campbell in Mad Men show this to an extreme.

Roger Sterling describes meeting a prospective client (and here read customer, boss, very important colleagues) as if it like being on a date: “Smile and sit there like you’ve got no place to go and listen to them talk.  They’ll throw out something revealing.  Let them know you have the same problem.  Then you’re in a conspiracy together… the basis of a ‘quote’ friendship”. 

When suit Pete Campbell is asked what it is he does all day as an account handler he replies by turning the question back on the questioner (Emile).  He asks: “What do you do?  I hear you’re a trail blazer.. I bet the world would be better off if they knew about the work you’re doing.”  Emile, highly flattered responds: “You’re very kind”.  And Pete replies: “And that Emile, is what I do, every day”.

It can be hard to keep this up if your people pleasing skills are at odds with your real values, but if you can reconcile the two sides of your nature then this might be a great boost up a career ladder. People pleasing can help you get what you want.  If the people around you are motivated by flattery then fawning may be your way to manipulate the situation to your own advantage.  Don’t fear the fawn, use it. 

• Freeze: When you are unable to move or speak.  This might be the most difficult of the responses (after the Flop).  At least in Flight, you get yourself out of there, and with Fight you might end up being thrown out.  But to freeze in the moment means that you are stuck.  Typically you might feel this response in two sorts of situations.  One is when simply overwhelmed by the other personalities in the room.  I can remember meeting a new creative agency top team for the first time as a planner in my twenties, and just being unable to contribute anything in the moment.  I’d been selected by my boss to lead the media part of a new business pitch, and sent to the introductory meeting with the ECD and CEO at the creative agency where I was completely intimidated.  By the time I got back to the office, where I had planned on coming up with a thought through response, my boss had had a call requesting my replacement, which created an opportunity for my very talented, and much more extrovert colleague.  The other situation when people can freeze is when they experience sexism, homophobia, racism or prejudice.  It can cost a lot to speak up in that moment, particularly if the person involved is more senior than you or has lots of apparent allies around them. 

There are techniques to help with all of these instinctive responses. They can be found in our book Belonging.  Breathing is paramount, with the right technique, all the Fs have a chance of coming under some kind of control, so that you can be your best self at work. 

Ernest Hemingway fans will recognise this as the apparently contradictory yet ruefully truthful reply that Mike Campbell gives when he’s asked “How did you go bankrupt?” in Ernest Hemingway’s iconic novel The Sun Also Rises.

It’s an important concept. It might seem contradictory, (if its gradual, how is it sudden?) but it isn’t uncommon and can lead, as in Mike’s case, to catastrophe. When change is obvious, you can deal with it, when its gradual, it can be easy to ignore until it suddenly accelerates, when coping strategies may fall short.

In the absorbing and extraordinary book Blue Machine, how the ocean shapes our world, author and presenter Helen Czerski uses the phrase to describe the constant reshaping of the sea.  “The gradual changes are the slow shunting of the whole plates around the globe, at speeds of a few centimetres per year.”  Then all at once changes are “thousands of tiny earthquakes.. the solid sea floor dropped by 2.4 metres, clearly an eruption…. Long jagged mountainous scars zigzag around the global ocean… each one rumbles along with its own dramas and growth spurts, for the most part hidden by the ocean.”  It’s not directly related but as we face increasing Ocean temperatures, we must pay attention to gradual changes before they become seismic.

This observation is key to delivering transformation and change in an unstable world.  Dramatic changes are a surprise, a shock even, simply because on the surface, on the blanket of the deep ocean, everything has looked under control.

Any organisation with a complex matrix management system can be prone to this, because the tendency to manage upwards and across, can lead to people smoothing over any minor changes until it is too late to change course in time. 

Any team that lacks a challenger embedded in it is vulnerable to group think and consensus, which again can mean missing the warning signals of change.

Gradually and then suddenly is a danger to us all.  It can happen in relationships where suddenly the small things that aren’t right become impossible to live with.  And it is happening with trust.

Dan Slivjanovski, CMO at DV, gave the keynote at the Campaign seminar DV Impact: Protection, Performance, Outcomes on May 8. 

He warned about the proliferation of fake news online.  He told us about an egregious example of this that matters hugely to Londoners: the instance of Sadiq Khan, London’s mayor, who said that deepfake audio of him making inflammatory remarks before Armistice Day 2023 nearly caused riots in the capital.  The clip used AI – artificial intelligence – to create a replica of Mr Khan’s voice saying words scripted by the faker, disparaging Remembrance weekend with an expletive and calling for pro-Palestinian marches, planned for the same day last November, to take precedence.

Intended to sound like a secret recording, it said: “What’s important and paramount is the one-million-man Palestinian march takes place on Saturday.”

The clip imitated Mr Khan, the first Muslim mayor of London, saying: “​​I control the Met Police, they will do as the Mayor of London tells them…the British public need to get a grip”. It said the prime minister meeting with Met Police Commissioner Sir Mark Rowley was “a waste of time” because “the buck stops with me”.

According to BBC news coverage: “Mr Khan said the fake audio “wasn’t a bit of fun” or “satire” and its creator had not been “naive” about the consequences it could have.

Mr Khan said organisations such as the Electoral Commission, which are responsible for keeping the UK’s elections “free and fair”, also needed more powers to deal with faked information.​​

There is currently no criminal law in the UK which specifically covers this kind of scenario.

The mayor said it was also “really worrying” that social media companies did not contact him or the authorities about the faked audio at the time it went viral.”

Renee DiResta of the Stanford Internet Observatory explains: “social media took the cost of distribution to zero, and generative AI takes the cost of generation to zero”.

Deepfakes are increasing exponentially.  According to Sumsub research there’s been a significant 10x increase in the number of deepfakes detected globally across all industries from 2022 to 2023: 1740% surge in USA, 1530% in APAC, 780% in Europe.

The 2024 Edelman Trust Barometer named a new paradox at the heart of society. Rapid innovation offers the promise of a new era of prosperity, but instead risks exacerbating trust issues, leading to further societal instability and political polarization.

According to Slivjanovski 99% of all content could be AI originated by the dawn of the next decade.  Unless AI tools for detecting and deterring deep fakes grow at a faster rate than the deep fake proliferation, then the impact on trust might be sudden and irreversible.  We all need to pay attention to this or gradually mounting distrust will develop into sudden and irreversible disruption.