A Quote by Brendan Eich
Brave browsers block everything: initial signaling/analytics scripts that start the programmatic advertising 'dirty pipe', impression-tracking pixels, and ad-click confirmation signals.
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I'm not an ad-libber. If I'm asked to ad-lib, I can ad-lib forever and it's really fun to do that, but I find that well-written scripts are put together very carefully. Once you start to ad-lib and add words to sentences, there's a slacking that happens. When it's good writing, it's taut. I'm not judging people who do ad-lib.
As our initial click fraud research study showed last year, there is an obvious problem in the online advertising world. The challenge is that I'm not sure anyone really knows the extent of the click fraud problem.
One of the ideas that was developed at MIT in a workshop was, imagine this pipe, and you've got valves, solenoid valves, taps, opening and closing. You create like a water curtain with pixels made of water. If those pixels fall, you can write on it: you can show patterns, images, text.
Imagine you're watching '30 Rock' and an ad comes on, but you don't like it. With Hulu Ad Swap, you can actually click the button and trade out the ad. So for the first time ever, a consumer is in control of their ad experience. For us, it's a big win because users are able to take control of what they see.
YouTube offers the best solution by running an ad before showing the video, but also offering a 'skip ad' button that you can click after five seconds to go directly to the video if you are not interested in the ad. Now, that's what I call consumer sovereignty!
There are a lot of robots who can open clicks. And they can click instead of human beings and this is damaging the confidence and the trust that the client has on programmatic.
You look to Google, you see this incredible world of information, you see the advertising, but you also get Google Analytics. And Google Analytics coupled with Salesforce's sales and service and marketing means that both of our customers are going to have customer insights that they've never had before. That is really exciting.
My background is advertising: I moved to New York from London in 1998 to start up the U.S. office of ad agency Bartle Bogle Hegarty.
When you think about normal advertising, it's just like, hey, here's a car and, you know, we don't know if you're looking for a car or not. So Google promised that mental state, and then were able to prove that delivering the message at the exact right moment would make someone click on something. So they pioneered the idea that advertising could be profitable on the internet, that a specific, very micromental state could be targeted. And they established the primacy of the click, which has haunted us ever since.
Advertising is utterly unprofitable, and I could prove it to you in one week. End an ad with an offer to pay five dollars to anyone who writes you that he read the ad through. The scarcity of replies will amaze you.
One of my jobs was at a start-up ad agency. They were trying to do things differently, work with socially conscious clients, and to really be a more creative take on advertising than the industry itself. But I noticed that what the guys at the office were circulating for inspiration still came from within the ad industry. I thought that was really counterintuitive - to only borrow inspiration from within your own industry.
The diversity of web browsers tomorrow will match the diversity of ink browsers (aka paper) today
In my first start-up, I had an initial advertising budget of $5 per day total. That would buy us 100 clicks per day. At $5 per day, marketing people scoffed and said that is too small to matter. But if you think about it, to an engineer, 100 real humans everyday giving your product a try means you can really start improving.
There's no one I trust in show business more than Sabrina Wind. She's my eyes and ears when I can't be there. She weighs in on everything, from scripts to sets to advertising.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
'Powers of Persuasion: The Story of British Advertising' by Winston Fletcher - the impression you get from reading this book, which covers post-war advertising until the present, is of a chaotic, self-serving, occasionally brilliant but ultimately shallow business.
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