Pitch PR rebrands as Pitch Marketing Group

Sports agency Pitch PR is changing its name to Pitch Marketing Group, as it launches a new division dedicated to branded content production.

HENRY Pitch

Henry Chappell

Pitch will now operate as a creative agency with a broader offering. The agency will have three specialist divisions: PR, partnerships and productions.

Pitch Productions will operate as an in-house creative studio, focusing on design, digital and video production. Steve Munachen, creative director, will oversee its output.

Sport and entertainment will remain a key part of the group’s specialism and its new approach will encourage brands to ‘be distinctive’ and cut through cluttered marketing environments.

Henry Chappell (pictured), chief executive at Pitch, said: “Pitch has gone from strength to strength in recent years and our repositioning will enable us to better communicate the award-winning work we’ve been doing for some time now.

“Brands today know that they need to be culturally relevant to reach consumers, and that goes beyond just sport and entertainment. A broader offering with defined specialisms reflects our clients’ wants and needs. Increasingly we are being briefed to work across digital, social, sponsorship, design and content production, as well as PR, and accordingly we are building expert teams in each of those areas.”

“Our new brand identity and recruitment of an in-house content production team is representative of the distinctive, content-led campaigns that we are creating.”

Getty Images appoints Jennifer Ferguson to global comms role

Stock photo agency Getty Images has appointed Jennifer Ferguson to the newly-created role, SVP of global communications. Ferguson joins from Christie’s, the fine arts business and auction house.

Jennifer Ferguson 1

Jennifer Ferguson

She will sit on the company’s executive committee, and will report to Getty Images CEO, Dawn Airey, who joined the company a year ago.

Ferguson’s appointment is part of Airey’s strategy to extend Getty Images’ core B2B licensing business as the company moves forward with its new, public-facing Getty Images Everywhere strategy.

Airey said: “I am thrilled that Jennifer will be joining our executive team, bringing with her a wealth of experience in the luxury, corporate and consumer space. As we move forward on our Getty Images Everywhere journey, it’s essential that we have a seasoned global communications leader at the helm to drive greater public perception and awareness for the wider brand.”

Ferguson joins from Christie’s where she was SVP and international director of communications and public relations, responsible for leading its global corporate communications.

In her new role, Ferguson will lead on communications with the company’s diverse stakeholders; from the photographic and creative communities, to internal and investor audiences, as well as consumers, corporates and news organisations around the world.

Ferguson added: “The depth and breadth of Getty Images’ business means it is uniquely placed to reach an unparalleled spectrum of audience and with this comes incredible opportunity. Imagery is the common thread that transcends cultural and language barriers. I am thrilled to be joining the company at such an exciting time and look forward to bringing Getty Images’ story to life in a digital era where consumers and businesses are demanding an increasing amount of visual and immersive content.”

Prior to her time at Christie’s, Ferguson held SVP positions at Kerzner International and Miramax Films/Dimension Films.

 

Gorkana meets… Horse & Hound

Pippa Roome, magazine editor at Horse & Hound, talks to Gorkana about the editorial team, its PR relationships and her experience covering the 2016 Rio Olympics.

PippaMug 1

Pippa Roome

How is the team at H&H set up?
There are 23 people in the editorial team. Each of the sports we cover has a section editor, who oversees all the magazine and online content in that area, plus we have a features editor, a news team, sub-editors, art and picture desks.

At the top end we have a content director, who feeds down to three senior members of the editorial team – I am the magazine editor, plus we have a website editor and a development editor. The three of us then manage the rest of the team.

Describe your ideal story
To work as news, it has to be genuinely “new” — a lot of people don’t seem to grasp the fact that the same thing happening as last year isn’t news.

Our readers enjoy a bit of controversy, particularly online. In reports, our readers love great sport — close competitions, difficult cross-country courses, world-beating scores — but also great human and horse interest stories, such as comebacks from injury, horses with an unusual background or those which have succeeded against the odds.

Our readers are also very patriotic and British riders doing well, particularly winning medals at the Olympics or other major championships, always result in a big spike of interest for us both online and in the magazine.

How do you like to be contacted by PRs?
By email initially — PRs should look up the relevant member of the team to contact in our staff panel.

Do you find that PRs have a good understanding of the kind of content H&H covers?
Those we work with frequently have a very good understanding of the sort of content we are looking to create. A lot of others make silly mistakes when contacting us, such as thinking we are a monthly magazine. It’s pretty annoying when someone calls and asks about the deadline for “your July issue” and we have to ask which of our four or five July issues they want to know about!

What do you love the most about your job?
Being paid to be a geek in a sport I love, and the opportunities to travel and report at amazing events.

Any stand-out moments in your career?
After being involved in our coverage of three Olympics from the office, since joining H&H in 2003, I was one of a three-man team H&H sent to the Rio Olympics this summer. It was a fantastic experience and reporting on Nick Skelton winning the individual showjumping gold for Britain was very special.

How has H&H changed since you first joined the publication?
We have become far more focused on our website (horseandhound.co.uk) , which drives over 100,000 page views most days, and on a really big day, twice that. We assess which stories are right for the magazine and which for the website as equals, rather than thinking about the magazine first and the website second.

Different sorts of content work better on different platforms so we can use them as complementary partners, giving people the immediate news, attention-grabbing stories, useful advice and entertainment online, while offering more in-depth analysis, reports, training and features in a carefully thought-out weekly package in the magazine.

Online, the right headline is crucial to encourage people to click on the story. We also have various other projects beyond our magazine and website now, such as Equo, our popular event entries website.

  • Pippa Roome is the magazine and eventing editor at Horse & Hound magazine, which is published by Time Inc. An Exeter graduate, she has worked for the title since 2003.

Up Communications rebrands as Goldbug

Lynne 2

Lynne Arrowsmith

Up Communications, founded in 2014 by ex-EE comms veterans Lynne Arrowsmith and Stuart Jackson, has rebranded as Goldbug.

Arrowsmith, the former director of internal brand and comms at EE, said the agency is looking to sharpen its proposition and the rebrand will assist the agency in doubling its size by October 2017.

As part of the refresh, Goldbug will be announcing a new senior account manager to support its consumer PR operation, and a senior account planner who will lead the delivery across internal comms accounts.

Arrowsmith added: “It’s an ideal time to rebrand. Our business has grown significantly over the last two years. We started with on wobbly desk and two creaking laptops in an office space kindly loaned to us by a long standing agency partner of ours.

“Since then our projects have scaled up and we’ve moved into our own space on Portland Place. It was the perfect time to look at our start-up identity and make some brand decisions that are the right fit for our long term future.”

James Saville, a partner at Goldbug and former Sunday Mirror News editor, said: “Storytelling has changed. As well as the thud of a coverage report on the CEO’s desk, ideas need to work hard to reflect a brand and its story. Our insight allows us to deliver that.

“Our clients have been impressed with our ability to truly understand what a story is, not just for a headline in a press release, but one that works across all channels to deliver their message. A big part of our work is focused on employee comms and engagement – improving internal culture through brilliant, vibrant comms work is essential.

“There’s a phrase on the newsroom floor for an agenda-setting scoop: a marmalade dropper. We’ve now transported this scenario to the boardroom. What we deliver for our clients is two things: marmalade-dropping coverage, then the tools to engage their own staff with that bit of Fleet Street magic.”

Clients of Up have included Internet Matters, which is backed by BT, Sky, TalkTalk, Virgin Media, Google and the BBC, as well as Santander, Universal and Expedia.

Grayling on why brands must ‘communicate their tech exploration’

Future tech challenges mean that brands must plan to communicate their digital aspirations more clearly, according to Grayling’s new paper: ‘Live Smart or Die’. Helen Ellis, head of technology at Grayling UK, speaks to Gorkana about the challenges PRs face and how comms teams can come out on top.

Grayling’s latest paper aims to use its insights in emerging technologies to articulate some of the challenges which organisations of all kinds will have to grapple with over the next decade. As well as adapting to these challenges, brands must learn to communicate the changes they are making, it says.

Ellis explains: “The roadside is littered with the corpses of companies that have not kept pace, or have failed to adequately communicate their evolution, and got lost along the way.”

Four developing challenges from the paper are:

  • Age vs youth: The working patterns between generations are different – this creates a tension between a growing older population and Millennials, who desire a flexible way of working, but feel more burdened by the legacy of previous generations than ever before.
  • Innovation vs regulation: Legislation and regulation struggle to keep pace with technological change and trends, such as  the growth in connected devices and the Internet of Things.
  • Speed vs structure: The interplay between the on-demand economy and the ageing infrastructure of major cities.
  • Me vs AI: The tension between man and machine as more jobs become automated.

With these challenges in mind, the ability to communicate tech advances within a brand is crucial. For example, in the case of an ageing population, tech provides an opportunity for brands to come up with creative services as they have an audience with ‘plenty of leisure time and high disposable income’, according to the paper.

But, many brands, including train companies and banks, are getting rid of offline materials such as timetables and physical stores without considering how a range of users, particularly in the older demographic, can engage online when they don’t have the skills to do so.

For this reason, the paper identifies Blockbuster, Kodak and Myspace as ‘corpses of businesses that have failed to adapt their product, or their communications’.

Ellis tells Gorkana that communicating customer benefits with each technological change is the way forward.

She says: “This requires a delicate balancing act between an openness about the tech-led journey that a company might be on – incorporating AI or automation, for example – and revealing their hand to their competitors. Ultimately it is about communicating customer benefits.”

Large tech companies are the best at this, according to Ellis, but we see examples in lots of sectors.

“In logistics, for example, DHL is demonstrating its leadership credentials by talking about its trialling of drones and other technologies – while the reality is that most of its deliveries are still undertaken by road.

“Rail companies could definitely do a better job of communicating the benefits of technology like driverless trains; currently the Trade Unions are winning the argument on safety grounds.”

But, it’s still early days, this is a forward looking report and, as Ellis states: ‘forewarned is forearmed’. She adds: “Understanding the implications of ‘Aging vs Youth’, for example, will help with the planning of future channel strategies and messaging.

“We encourage brands to understand these audiences better when thinking about their communications, old versus young is one consideration but so too is state of mind within subsets of these groups – one sized campaigns really don’t fit all audiences anymore.”

  • ‘Live Smart or Die’ is part of the Grayling Advantage Series, a program that addresses some of the major reputational, regulatory and communications challenges facing organisations today. 

Opinion: Updating the crisis manual for a new generation

Crisis management plans can be unwieldy, impractical and, therefore, redundant. Jason Nisse, partner at Newgate Communications, tells us why the corporate comms specialist has created a new model.

Jason Nisse 1

Jason Nisse

Earlier this year I was advising a client on a rather unpleasant issue that had grown into a full-on, international crisis.

It involved all the sorts of things you might expect – hastily arranged conference calls with critical people dropping off the call because of poor phone signal, statements which had to be drafted and redrafted in short order, social media spikes which might, or might not, have related to the crisis itself.

In the midst of it all, one senior executive joined a call and asked whether we were following the procedures set out in the group’s “Crisis Manual”? The truth was, we weren’t, and that was because it was over 60 pages long, and hadn’t even been looked at by some key members of the team. Later on, however, someone was tasked with retrospectively reviewing whether we had followed the processes.

This all goes to show the shortcomings of crisis manuals – or ‘bibles’ – in the modern communications environment. Often, because the legal team or the insurers have insisted upon it, it is widely-adopted best practice for an organisation to have one of these documents.

Venerable consultancies are asked to help draft them, typically producing a document that deals with all of the possible permutations of challenges that a crisis might throw up – dealing with the media, communicating internally, informing stakeholders, customers and investors, and trying to keep some control over social media.

As a result the documents have grown and grown, ending up with 50, 60, 70 or more pages, often with colour coded escalation grids, forms to fill in, communications theory and the like.

But what serious person would want to wade through pages and pages of a crisis manual when the world is falling in? Who has time? All any halfway decent communicator wants is a manageable document that says simply who should do what, when, how and in what tone of voice.

This is why we at Newgate have started working with clients to develop what we call ‘new generation crisis bibles’, which are short, simple and shareable.

These documents clearly tell the team working in a crisis environment the exact information they need to get the job done. We’ve made our new bibles shareable via all digital channels, as well as in old-fashioned hard copy, and as far as possible we’ve used diagrams and infographics because, in the words of Telly Savalas: “a picture paints a thousand words”.

The idea is not only accessible, it’s popular and we’ve already developed quite a few:

  • For a FTSE100 multinational we reduced a 62-page manual into a three pager, which exists online, and tells the comms team everything it needs to know
  • For a global consumer goods business we turned a 58 page death-by-powerpoint monolith into a one page flowchart
  • For a UK-based construction business we created an easy to understand, four stage, one page, operational map

If a picture paints a thousand words, just think what a video can do. With that in mind, we recorded a short, simple and shareable video to explain what we’re up to. We hope to kick-start a revolution to ensure that, next time, we’re all crisis-ready.

Hawthorn hires associate directors Daniel Rolle and Jen Stebbing

Communications consultancy Hawthorn has appointed Daniel Rolle and Jen Stebbing as associate directors. They will advise clients across the technology and professional services sectors.

Jen Stebbing 1

Jen Stebbing

Stebbing joins Hawthorn from Evening Standard and Independent publishing group, ESI Media, where she was head of video. She has also worked in senior broadcast roles at London Live and Sky News, and in communications roles in the press office at Westminster Abbey and for the Queen at Buckingham Palace.

Rolle joins Hawthorn from Burson-Marsteller. A corporate and political communications specialist, he has worked with a range of government and political clients, with a particular focus on public engagement and election campaigns in Africa and the Middle East. He began his career at MHP Communications.

John Evans, managing partner at Hawthorn, said: “Our focus continues to be on finding people with experience from a variety of backgrounds, as well as those that have excelled in the corporate communications industry. It is by building a team with people such as Jen and Daniel that we will keep our business growing and fulfilling our clients’ needs.”

Rolle added: “I am delighted to join Hawthorn Advisors at this important moment in the firm’s development and look forward to contributing to its growth over the coming years. The communications industry is seeing a shift from the traditional large agency players to more nimble and innovative consultancies that are able to scale quickly and intelligently to solve problems on behalf of clients. The quality of talent and diversity of expertise that Hawthorn has at its disposal puts us at the forefront of that dynamic.”

CNBC’s Arjun Kharpal on why he wants more Snapchat pitches

For the last three months, CNBC’s international technology reporter, Arjun Kharpal, has requested pitches from PRs via Snapchat. Gorkana caught up with the journo to find out what he hoped to achieve and whether it has been effective.

Kharpal tells Gorkana that his main objective when asking PRs to pitch via Snapchat, is to cut down on email pitches. He says: “I’m not the biggest fan of emails, particularly pitches that are chunky, long to read and don’t make much sense.

“I was playing around with Snapchat and loved the immediacy and most importantly fun aspect that I experienced with friends. So I thought ‘why couldn’t this work with pitches?’.”

Snapchat has two benefits for the reporter – it cuts email traffic down and he gets better, easier to understand pitches as PRs stick to the key facts.

He explains: “It also allows PRs to present a visual story in a more compelling way, perhaps by snapping an image or video of the product. For me, the benefits are shorter but more effective pitches. Also, I’m a very heavy mobile user, so I’m always checking social media, looking at what’s going on. Sometimes, I’ll respond quicker through Snapchat than email.”

Does Snapchat’s format encourage better pitches?

While Kharpal says that it is still ‘early days’ and people are still experimenting with the format, there have been positive pitches.

“I actually put my out of office on when I went on holiday recently and told people that the only way they could contact me was via Snapchat. This boosted the number of people getting in touch via the platform. I don’t want to name names just yet as it’s still early, but I can say what does and doesn’t work,’ he recalls.

He adds: “I had one pitch where someone had written something on a piece of paper and then taken a picture of it. That’s the same thing as an email. Perhaps a clear video message would have been better in that situation. Short ten second explanations of a story should be enough to get me hooked and wanting to know more about a story.”

Will Snapchat pitches catch on?

Many PRs are still afraid to take the plunge for fear of getting a Snapchat pitch ‘wrong’, according to Kharpal. He says: “After all, pitching via Snapchat isn’t something that anyone is offering training on. But I’m not judging though. I’m still learning the most effective way to use Snapchat myself.

“I think that Snapchat won’t work for every single pitch, but there are a lot of use cases where I think it may be much more effective than an email or phone call. In a sense, it’s much more personal. You’ve gone out your way to custom make and curate a pitch for an individual journalist, rather than the generic email that’s been shot to 100 journalists. I will carry on asking for these so keep Snapping away,” he requests.

PRs want to tailor pitches to each journalist

Alicia Manji, TVC’s associate director, says that the agency takes a bespoke approach to each journalist and media teams have to know how journalists, like Kharpal, prefer to be contacted and adapt.

“There are some [journalists], particularly in tech and fashion that we connect via Snapchat, but they are currently few and far between. It’s about finding the right channel for the journalist but also for the content and the story we’re looking to sell.  Sometimes it’s face to face, sometimes phone, email, Twitter or Snapchat. Ultimately it’s about knowing the journalist and the content they need to sell the story,” she says.

Manji explains that what makes pitches via social media successful is their storytelling capabilities which other platforms don’t offer. She says: ” It is possible to be clever about liaising with media using Snapchat if you plan accordingly. In fact, a good story can really make an impression. But also, it is worth remembering that the appeal of the platform is its very informality and accessibility.

“Its language and conventions have been invented by a user base which is younger than Facebook’s or Twitter’s. For that reason it particularly suits softer topics but can help make harder stories more accessible and interesting.”

Community Channel appoints Pagefield post-crowdfunding

After a successful crowdfunding campaign earlier this year, Community Channel, formerly part of The Media Trust, has brought in Pagefield to provide public affairs and media counsel.

Community Channel 1

Community Channel

The free-to-air television channel, which caters for UK-based charities, community groups and voluntary organisations, aims to be wholly-owned by its community. Pagefield will provide support throughout its move to a different form of ownership.

Pagefield worked with Community Channel on its crowdfunding campaign which took place in June and raised more than £300,000 to keep the channel open. The consultancy provided a campaign, social media support and stakeholder and media relations to assist in surpassing of channel’s crowdfunding target.

Alex Kann, CEO at Community Channel, said: “Community Channel is in an exciting period following the success of our crowdfunding campaign. Pagefield was a key partner during the campaign and we’re delighted to continue working together as we prepare to revitalise our “co-operatively-owned” channel.”

Oliver Foster, managing partner at Pagefield, added: “We understood from day one of working with Community Channel that it is an invaluable community asset, and we were passionate about helping the team to reach the magic number needed to stay on air. This was a campaign that played to all of our strengths as an integrated, creative and multi-discipline campaigning agency, and the result speaks for itself. We’re thrilled to continue working with the team as Community Channel continues to carve out its unique role in the UK’s broadcasting landscape.”

Community Channel broadcasts on Virgin 269, Sky 539 and Freesat 651 and is available on Freeview 63 and BT Vision, BBC iPlayer, TVGuide and TVPlayer.

OVO bolsters marketing and comms teams

Energy provider OVO has appointed Dyson’s Adam Rostom as chief marketing officer and named the Guardian’s Katie Thompson as its new comms director, as the company looks to build its brand and drive growth plans.

Adam Rostom - OVO

Adam Rostom

Rostom, who joins OVO later this month, was previously global category director for cordless and robot vacuum cleaners at Dyson.

Prior to that, he was group marketing director at Dyson, leading a 150-strong team to deliver global launches of key innovations, such as Dyson’s cordless vacuums and Air MultiplierTM fans.

Before joining Dyson, Rostom ran marketing activity for innocent drinks, where he came up with the idea for the brand’s Big Knit project.

In his new role at OVO, Rostom will focus on enhancing OVO’s brand, with a brief to increase awareness of its customer proposition to bring energy into the 21st century “through innovative products and a seamless digital experience”.

Rostom said: “I like disruptors. Companies unafraid to break with conventional thinking and tired rules to bring better products and services to market – the kind people deserve. OVO doesn’t just sell energy. The innovation agenda at OVO is huge. This is an incredible opportunity for me to add to a strong proposition and amplify it. I can’t wait to propel OVO to even bigger things.”

Katie Thompson - OVO

Katie Thompson

Thompson joins OVO as comms director following a 15 year career in comms working at global consumer-facing companies including Guardian News & Media and Coca-Cola, as well as Portland Communications, where she led campaigns for brands including Google and Facebook.

She is currently VP of comms for the Guardian’s US operation, based in New York, and has also overseen comms strategy for projects including the publication’s launch in Australia and the relaunch of its website in 2014.

Before that, she spent three years at Coca-Cola, with responsibility for comms activity for the company’s sponsorship of the London 2012 Olympic Games.

Thompson will take on her new role at OVO in January 2017.

“OVO has a great reputation as a purpose-driven company that is underpinned by a clear and powerful set of values”, Thompson said. “I look forward to finding new and compelling ways to tell the company’s unique story.”

Stephen Fitzpatrick, CEO at OVO, said of Rostom’s and Thompson’s appointments: “We’ve built an incredible brand at OVO and winning a big award was a testament to this but I feel like we’ve only scratched the surface of what’s possible.

“Adam and Katie have years of experience working with some of the world’s biggest and most loved brands and they will play a huge role in achieving our mission of creating the world’s most trusted energy company.”