The Advertising Research Handbook 2nd Edition

Revised and Expanded Charles E. Young pdf

download

https://ebookname.com/product/the-advertising-research-
handbook-2nd-edition-revised-and-expanded-charles-e-young/

Get the full ebook with Bonus Features for a Better Reading Experience on ebookname.com
Instant digital products (PDF, ePub, MOBI) available
Download now and explore formats that suit you...

Solvent Extraction Principles and Practice Revised and

Expanded 2nd Edition Jan Rydberg

https://ebookname.com/product/solvent-extraction-principles-and-
practice-revised-and-expanded-2nd-edition-jan-rydberg/

Bessie Revised and expanded edition Chris Albertson

https://ebookname.com/product/bessie-revised-and-expanded-
edition-chris-albertson-2/

Bessie Revised and expanded edition Chris Albertson

https://ebookname.com/product/bessie-revised-and-expanded-
edition-chris-albertson/

Computational Toxicology Risk Assessment for

Pharmaceutical and Environmental Chemicals Wiley Series
on Technologies for the Pharmaceutical Industry 1st
Edition Sean Ekins
https://ebookname.com/product/computational-toxicology-risk-
assessment-for-pharmaceutical-and-environmental-chemicals-wiley-
series-on-technologies-for-the-pharmaceutical-industry-1st-
Biological Control in Plant Protection A Colour
Handbook Second Edition Neil Helyer

https://ebookname.com/product/biological-control-in-plant-
protection-a-colour-handbook-second-edition-neil-helyer/

Temple to Love Architecture and Devotion in Seventeenth

Century Bengal Contemporary Indian Studies Pika Ghosh

https://ebookname.com/product/temple-to-love-architecture-and-
devotion-in-seventeenth-century-bengal-contemporary-indian-
studies-pika-ghosh/

Routledge Handbook of International Criminal Law 1st

Edition William A. Schabas

https://ebookname.com/product/routledge-handbook-of-
international-criminal-law-1st-edition-william-a-schabas/

Pro Tools 7 Power 2nd Edition Colin Macqueen

https://ebookname.com/product/pro-tools-7-power-2nd-edition-
colin-macqueen/

Rails 4 in Action Revised Edition of Rails 3 in Action

Ryan Bigg

https://ebookname.com/product/rails-4-in-action-revised-edition-
of-rails-3-in-action-ryan-bigg/
Papermaking in Pioneer America Dard Hunter

https://ebookname.com/product/papermaking-in-pioneer-america-
dard-hunter/
81234AMERITEST_COVER_SPINE.qxd:Cover BF and spine.qxd 8/26/08 2:15 PM Page 1

The Advertising Research Handbook, Second Edition

The
TM
Advertising
“Chuck has given us an approach to marketing research, specifically ad
testing, that gives us actionable results and key insights. Both are Research
Handbook
critical to our success.”
—John Galvin, Director, Worldwide Corporate Market Research, Intel

“For nearly thirty years, researchers were centered on only two

measures, recall and persuasion, without regard to how consumers were
processing what they saw and heard. Copy research became a game of
beating norms. Chuck has brought a fresh perspective not only in terms
of how to measure reaction to advertising, but also in terms of how
people process information and react emotionally to messages. He is the
only person I know to step outside the world of advertising to study the
world of filmmaking and then apply its principles to how people process
messages.”
—Michael Robinson, Omnicom

“The Advertising Research Handbook should be a ‘must have’ for all

marketers engaged in developing and managing advertising programs.
Charles E. Young
Not only does it simply and easily outline the different ways in which
advertising works, the different types of research for pretesting, and its
ability to meet its goals, it also provides some helpful tips for strength-
ening advertising based on learning from a robust database.”
—Tim Teran, EVP, Consumer Insights & Strategy, Macy’s

Revised and Expanded

SECOND EDITION

$22.95 US
$25.95 Canada Charles E. Young
81234Amertest_Book.qxd 8/29/08 8:05 AM Page i

The
Advertising Research
Handbook
81234Amertest_Book.qxd 8/29/08 8:05 AM Page ii
81234Amertest_Book.qxd 8/29/08 8:05 AM Page iii

The
Advertising
Research Handbook

by
Charles E. Young

SECOND EDITION
Ideas in Flight
Seattle, Washington
a division of Ad Essentials, LLC.
81234Amertest_Book.qxd 8/29/08 8:05 AM Page iv

Copyright © 2008, Ad Essentials, LLC, 525 West Prospect

Street, Seattle, Washington 98119, and Ideas in Flight,
Seattle, Washington.

All Rights Reserved. No part of this book may be

reproduced in any form or by any electronic or
mechanical means, including information storage
and retrieval systems, without permission in writing
from the publisher, except by a reviewer who may
quote brief passages in a review.

Second Edition, October, 2008

ISBN 978-0-615-24496-9

The author is grateful for permission to use exhibit material

from Unilever, Sara Lee, IBM, United Dairy Association,
and Hello Hello, Inc.

Acknowledgments
Several chapters are adapted from papers noted in the End
Notes section of this book, with thanks to coauthors Michael
Robinson, John Kastenholz, and Graham Kerr.

Front Page Cover Photo

Physicist Harold Edgerton used stop-action photography to
freeze time and make the invisible visible. © Harold & Esther
Edgerton Foundation, 2008, courtesy of Palm Press, Inc.

Back Page Cover Art

The Ameritest Flow of Attention® graph freezes time to study
how audience attention flows through the moving
pictures of film.

Illustrations, cover, and book layout and design

by Patricia D. King.

Printed in the United States of America.

81234Amertest_Book.qxd 8/29/08 8:05 AM Page v

Contents
FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .XI
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .XIII
I. A Short History of Television Copytesting . . . .1
The Rise of Report Card Measures: Filtering the
Creative
The Role of Diagnostics: Optimization
The Search for the Unconscious Mind
Development of Moment-by-Moment Measures
Future Trends

II. Advertising Models . . . . . . . . . . . . . . . . . . . . . .33

Television
Print/Outdoor/Newspaper
Direct Response
Web
Packaging
Modeling an Integrated Campaign: Breadth and
Depth

III. Pre-testing: A Review of Report Card Measures

from Different Systems . . . . . . . . . . . . . . . . . .63
Attention and Recall
Branding
Motivation and Persuasion
Composite Measures
Liking

IV. Pre-testing: A Review of Diagnostic Techniques

from Different Systems . . . . . . . . . . . . . . . . . .85
Communication: Open-Ended Questions
Rating Statements
Moment-by-Moment Measures
Biometrics

V. Tracking: Measuring Ad Awareness

In-Market . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Continuous Tracking versus Dipstick
Measurement

V
81234Amertest_Book.qxd 8/29/08 8:05 AM Page vi

Recall versus Recognition

Optimizing the Recognition Stimulus

VI. Creative Tracking: Benchmarking Performance

to Competitive Ads . . . . . . . . . . . . . . . . . . . .133
Creative Tracking: Real Time Rankings of
Creative Quality
Case History: Predicting McDonald’s Sales from
Studying the Creative Landscape
McDonald’s Model of Success

VII. Leading Audience Attention . . . . . . . . . . . . .149

Rapid Cognition and the Attentional Blink
The Psychology of Editing Film

VIII. How Attention Drives Recall . . . . . . . . . . . . .165

The Importance of Rhythmic Structure
Semantic Content Drives Recall Scores

IX. Three Measures of Branding . . . . . . . . . . . . .177

Ipsos-ASI’s “Bridge” Between Recall and
Recognition
Millward Brown’s “Fit” Between Brand and
Execution
Ameritest’s “Top-of-Mind” Linkage
Relationships Among the Branding Measures
Three Models of Branding

X. Four Types of Memories . . . . . . . . . . . . . . . .189

Knowledge Tags
Emotion Tags
Action Tags
Brand Identity Tags
A Simple Tool

XI. Four Dramatic Structures of Emotional

Television Advertising . . . . . . . . . . . . . . . . . .205
The Flow of Emotion and Advertising Response
Four Dramatic Archetypes
Four Different Roles of the Brand

VI
81234Amertest_Book.qxd 8/29/08 8:05 AM Page vii

XII. What is “Information?” . . . . . . . . . . . . . . . . .219

Semantic versus Esthetic Information
Information Processing by Brand Lifestage
Successful New Product Commercials

XIII. How to Construct Persuasive Selling

Propositions . . . . . . . . . . . . . . . . . . . . . . . . . .235
Semantics: The Rational Side of Market
Communication
How to Build a Semantic Network
Application of Semantic Networks
Motivating Ideas
Persuasive Pathways

XIV. When to Introduce the Brand . . . . . . . . . . . .265

Three Keys to Brand Linkage: Focus, Fit and
Timing
Timing and Dramatic Structure
Timing and Brand Lifestage

XV. Rehearsing Ideas with Rough Ad Testing . . .281

Comparability of Animatic and Finished Film
Scores
Improvement from Rehearsal to Final
Production
The Value of Rehearsal
Three Case Studies

XVI. Why Length Matters . . . . . . . . . . . . . . . . . . . .299

30 Seconds versus 15 Seconds
Frequency of Branding Moments
Building Brand Presence

XVII. Film Tips For Branding Television

Commercials . . . . . . . . . . . . . . . . . . . . . . . . .317
Why is Brand Linkage Important?
The Visual
The Copy
The Music

VII
81234Amertest_Book.qxd 8/29/08 8:05 AM Page viii

XVIII. Finding Ideas That Travel: What to Look

For in Advertising Global Brands . . . . . . . .339
Creative Options
Barriers to Universal Advertising
Keys to International Advertising: What We
Have Learned
International Barriers to Executional Effectiveness

XIX. Five Research Strategies For Improving

Advertising Productivity . . . . . . . . . . . . . . . . .351
Test the Advertising Creative With a
Valid Performance Standard
Rehearse the Creative in Rough Form First
Experiment With Creative Alternatives
Optimize the Creative With Diagnostic
Insights
Learn From the Competition

XX. How to Have a Successful Research Meeting

With the Ad Team . . . . . . . . . . . . . . . . . . . . .365
What Are the Barriers to Successful
Collaboration?
Group Interaction: Dialogue is the Heart of
Group Learning
The Roles in the Meeting: Understanding
the Emotional Dynamics in the Room
The Three Conditions Necessary for
Discourse
Causes of Failure and Success in a
Research Meeting

GLOSSARY OF ADVERTISING RESEARCH TERMS: HOW TO

TALK THE TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . .387

RESOURCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .441
Websites
End Notes
Publications
Rough Guide to Statistical Testing

VIII
81234Amertest_Book.qxd 8/29/08 8:05 AM Page ix

For Norma
81234Amertest_Book.qxd 8/29/08 8:05 AM Page x
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xi

Foreword

A.G. Lafley, former President and Chief

Executive of The Procter & Gamble Company,
once stated that “the best brands win two cru-
cial moments of truth. The first moment occurs
at the store shelf, when a consumer decides
whether to buy one brand over another. The
second moment occurs at home, when he or
she uses the brand and is delighted or isn’t.”
I think there is a third moment of truth for
most brands. In many cases it occurs before
the store shelf or in-home use experience. It
happens when a message is sent by an advertis-
er and received by a consumer. Sometimes it is
used to introduce us to new products, some-
times to communicate improvements to
existing brands. At other times to show us how
certain brands can make our lives better. But in
all cases, consistently great advertising must
stop us and capture our attention, create the
proper brand linkage, inform us, move us
emotionally, persuade us to buy and in the end
leave a positive impression of the brand. The
challenge for marketers is to find valid and
reliable ways to measure these components of
effective advertising.
This handbook is for everyone from the most
experienced researchers, brand managers and

XI
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xii

creatives to those learning about advertising

research for the first time. It provides a
comprehensive review of key metrics used by
major pre-testing systems along with a glossary
of terms, tips for branding Television commer-
cials as well as advice on how to have a success-
ful research meeting. It provokes everyone to
think harder about how advertising works.
In short, this handbook is for those who want
to know their craft better, stimulate their
thinking and compete better in the market-
place.

Michael Robinson,
Demand Consulting/Omnicom

XII
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xiii

Introduction

For most people, a first-time visit to a new

domain of knowledge is like a visit to a foreign
country. The language is strange, the money is
confusing, the proper names are peculiar, and
while many things may look the same as they
appear in their home country, the rules are
subtly different. So different that, if a person is
not careful, he may unexpectedly find himself
driving on the wrong side of the road.
In terms of relative size, the domain of adver-
tising research is like the very small Duchy of
Grand Fenwick nestled somewhere between
the much larger nations of Advertising and
Finance, Hollywood and Business, Science and
Art. Being at the crossroads of many disci-
plines, our small country attracts many
tourists—account planners, brand managers,
creative directors—though few are actual full
time citizens as I am.
Much like a guide to Paris or Tokyo, I have
written this book as a helpful guide for the
tourist or occasional visitor who, upon passion-
ately pursuing the dream of a powerful adver-
tising campaign, finds him or herself stopped at
a border checkpoint by one of our customs
inspectors.
This book is intended to be neither a com-

XIII
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xiv

prehensive nor an in-depth study of the

subject. This is a topical reference piece with
stand-alone chapters that can be read out-of-
order, as needed. It’s a survival guide to throw
in your backpack and pull out now as you trek
through the forest of advertising research con-
cepts and over the mountain passes of test
scores that you may encounter.
The book is divided into twenty chapters
that represent four distinct and complementa-
ry views of the landscape.
The first six chapters in the book are about
the practice of advertising research: the history,
the models, and the measurement practices of
different advertising research companies. This
part of the book should provide a useful buyer’s
guide to the research practitioner.
The next six chapters shift to a more theoret-
ical, psychological viewpoint, using some of the
new findings of the exploding field of neuro-
science and recent data from our own research
practice to present new thinking about how the
mind of the consumer processes the rational
and emotional information in ads. These
chapters are a deep dive into the reasons why
ads score as they do on key measures such as
attention, recall, branding, and motivation. Of
necessity, the ideas presented in this part of the
book should be viewed as a work-in-progress.
After that, six chapters shift to a creative
development perspective, providing essays on a

XIV
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xv

range of topics from the semantics of strategy

refinement to suggestions on how to improve
the branding in ad film to advice on the develop-
ment of global advertising campaigns. These
chapters include several creative topics that
frequently come up in client/agency discussions,
such as when to introduce the brand into the
flow of a commercial, the value of 30-second
versus 15-second commercials, and the useful-
ness of rehearsing advertising ideas in rough
animatic form first before producing final film.
The final two chapters look at advertising
research from the standpoint of a business
process. One describes five different learning
strategies that a company can use to improve
the creative development process. The last
chapter reveals the secrets of how to you can
have a successful research meeting, so that what
is learned by the ad researcher actually gets
used by the ad team.
No one likes to feel like a Yokel on his first
visit to New York, especially if you’ve come to
attend your first presentation of research results
on your advertising. So, the Glossary at the end
of the book provides a handy dictionary that you
can use to talk to the natives.

Charles Young, CEO

Albuquerque, 2008

XV
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xvi
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xvii

The
Advertising Research
Handbook
81234Amertest_Book.qxd 8/29/08 8:05 AM Page xviii
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 1

I
A Short History of
Television Copytesting
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 2
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 3

I
A Short History of
Television Copytesting

In the late 1950s and early 1960s, television

was just over a decade into its commercializa-
tion stage, about as far as the Internet is today.
In those days there were just three networks.
Programming was in black and white. A mod-
ern television viewer just might find the
content tedious in terms of its visual pacing,
and heavy on dialogue compared to the sophis-
ticated cinematography of today.
Television advertising was different then,
too. The basic unit of advertising was longer—
the 60-second commercial. Many brands adver-
tised in sole sponsor shows without commer-
cial clutter. And there were fewer brands doing
television advertising—but with more commer-
cials surrounding the brand with a variety of
messages.
To illustrate the last point: some years ago, an
advertising agency undertook a bit of advertising
archaeology, reviewing the ancient history of
two Proctor & Gamble (P&G) brands, which
they had handled from their very beginning.
The agency was quite surprised to learn how

3
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 4

4 T HE A DVERTISING R ESEARCH H ANDBOOK

much things had changed since the golden age

of television. In 1959, P&G launched Mr. Clean
household cleanser nationally and, during the
first eighteen months of its introduction, aired
35 different 60-second executions. In 1961,
when P&G launched Head & Shoulders sham-
poo, 27 distinct executions ran during the first
eighteen months. Today, either brand would be
lucky to produce two to three commercials in a
given year and one would probably be a :15.
The reason for this profligate rate of com-
mercial production was quite simple.
According to historical records tracked down
in the 4A’s library in New York, in 1960 an aver-
age network-quality 60-second commercial
would cost you $10,000 to produce—one
fortieth the cost of today’s production. An A-list
director would cost you around $3,500, which
is a tiny fraction of today’s fees. Not surprisingly,
given the low cost of commercial production,
doing research on creative effectiveness was
considered a relatively simple and straightfor-
ward filtering process.
In the years since, however, various methods
of research have been developed to manage the
risk associated with increasingly expensive
media budgets. This category of research has
historically been known as copytesting or,
more correctly, pre-testing. Implicitly, all of
these methods are intended to be predictive of
commercial performance in some way. The
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 5

A S HORT H ISTORY OF T ELEVISION C OPYTESTING 5

other major form of quantitative advertising

research that also developed over this time
period involves tracking the effects of television
advertising once it has actually aired and sepa-
rating those effects from other variables in the
marketing mix.
Much of the history of ad research resembles
the fable of the three blind men describing the
elephant with recall or persuasion replacing
snake or tree trunk as the competing descrip-
tions of the advertising animal. So, not surpris-
ingly, clients have been much confused by the
various pictures painted by the different copy-
testing systems to describe how advertising
works. Yet most of the widely used approaches
are probably valid up to a point. In the past
twenty years, suppliers have produced an
endless series of validation charts and regression
lines with high r-squared statistics in support of
their claim to having the best copytesting sys-
tem. It should be noted that this wasn’t always
the case. As documented by Ostlund, Clancy,
and Sapra, industry frustration with the lack of
research hygiene among copytesting firms had
reached a peak level shortly before the advent of
the retail scanner revolution.1
So why do client and agency frustrations
persist, despite the ongoing evolution of the
“science” of copytesting? This frustration
comes from overpromise and oversimplifica-
tion of a complex subject—the question of how
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 6

6 T HE A DVERTISING R ESEARCH H ANDBOOK

an endless variety of television commercials

penetrate the human mind to motivate every-
day behavior. Really, when you think about it,
rocket science looks easy by comparison.
Because the U.S. was the dominant market
for television advertising during this period, the
story of how television copytesting evolved in
the U.S. essentially highlights the various
management debates over this time about how
advertising is supposed to work—an issue that
still holds our attention today with the emer-
gence of global advertising campaigns and the
proliferation of media choices. The current
time, therefore, is a good vantage point for
reviewing where we have been in our thinking.
What follows is an attempt to provide a broad
overview of the subject so that researchers
currently in the field can move forward.
There are four general themes woven into
the last half-century of copytesting. The first is
the quest for a valid single-number statistic to
capture the overall performance of the adver-
tising creative. This is an attempt to summarize
the various report card measures that are used
to filter commercial executions and help
management make the go/no go decision about
which ads to air. The second theme is the
development of diagnostic copytesting, whose
main purpose is optimization, providing
insights about and understanding of a commer-
cial’s performance on the report card measures
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 7

A S HORT H ISTORY OF T ELEVISION C OPYTESTING 7

with the hope of identifying creative opportuni-

ties to save and improve executions. The third
theme is the development of non-verbal
measures in response to the belief of many
advertising professionals that much of a
commercial’s effects—the emotional impact—
may be difficult for respondents to put into
words or scale on verbal rating statements and
may, in fact, be operating below the level of con-
sciousness. The fourth theme, which is a varia-
tion on the previous two, is the development of
moment-by-moment measures to describe the
internal dynamic structure of the viewer’s
experience of the commercial, as a diagnostic
counterpoint to the various gestalt measures of
commercial performance or predicted impact.

THE RISE OF REPORT CARD MEASURES:

FILTERING THE CREATIVE
Regardless of the issues of inspiration, risk-tak-
ing and creative freedom that are involved in
the conceptualization of advertising execu-
tions, from a management perspective the
creative development process is an expensive
business process that outputs products—i.e.,
commercials—of highly variable quality. Like
any industrial process, control is a function of
our ability to measure it. For large firms, those
for which advertising is mission-critical to their
business, such as P&G, significant quantities of
advertising executions are produced every
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 8

8 T HE A DVERTISING R ESEARCH H ANDBOOK

year. Therefore, very simple metrics are need-

ed to provide senior managers with a clear
picture of how well the process is working and
to provide a check on the quality of the
decisions being made by the more junior brand
managers and agency teams who are charged
with the day-to-day business of making adver-
tising. The key problem, of course, is one of
validity—the relationship to sales.
The logic behind the first report card
measure for testing television ads, the Day-
After Recall (DAR) score, is quite simple. For
advertising to be effective, it must surely leave
some trace behind in the memory of the
consumer. This memory effect metric was
particularly credible given the traditional
argument that advertising is superior to short-
term promotions such as couponing only
because of its long-term effect on sales. Recall
testing, therefore, was interpreted to measure
an ad’s ability on-air to break through into the
mind of the consumer to register a message
from the brand in long-term memory.
According to Honomichl, DAR testing was
first applied to the advertising measurement
problem by George Gallup Sr., who built on
R&D work done by a Naval Commander named
Thompson who used it in the training of Navy
pilots during the Second World War.4 The
Compton advertising agency then took up the
development of the measure, evaluating an
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 9

A S HORT H ISTORY OF T ELEVISION C OPYTESTING 9

arbitrary range of forgetting periods such as 12,

24, 48 and 72 hours and exploring a range of
variables operating in the on-air viewing
environment. Compton soon began promoting
it to their clients as proof of performance for
their work. P&G conducted experiments of its
own, became convinced of the usefulness of the
measure, and subcontracted the fieldwork to a
then small research company in Cincinnati
called Burke. With P&G taking the lead, many
other advertisers soon followed suit and Burke
DAR scores became the dominant copytesting
report card measure for the fifties and sixties.
In the seventies, however, some researchers
began to question the relationship between
recall and sales. According to some reports at
the time, P&G reviewed a hundred split-cable
test markets that had been conducted over ten
years with ads that had been recall-tested and
had been unable to find a significant relation-
ship between recall scores and sales response.
Not coincidentally, in a major validation study
conducted at roughly the same time, Ross found
that persuasion was a better predictor of sales
response to advertising than was recall.3 Much
later, Lodish and his colleagues conducted an
even more extensive review of test market
results and also failed to find a relationship
between recall and sales.4
During this period, therefore, the attention of
advertising researchers shifted to the problem
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 10

10 T HE A DVERTISING R ESEARCH H ANDBOOK

of measuring advertising persuasiveness. One of

the researchers leading the way was Horace
Schwerin, who pointed out “…the obvious truth
is that a claim can be well remembered but
completely unimportant to the prospective
buyer of the product—if the solution the
marketer offers is addressed to the wrong
need.”5 Schwerin sold his company (and the pre-
post shift approach to measuring persuasion
that he developed) to ARS, which succeeded in
getting it adopted by P&G as the new standard
for measuring advertising effectiveness.
Recall continued to be collected as a compan-
ion measure, in part to ease the transition for
the old-line researchers, with the caveat that
recall is important up to some minimal thresh-
old level, but persuasion is the more important
measure. Again, with the imprimatur of P&G
support, the ARS pre-post measure of persua-
siveness became the category leader for much
of the seventies and eighties.6 Alternative post-
exposure measures of motivation or persua-
siveness were also developed at this time, such
as the weighted five-point purchase intent
scale—the industry gold standard for concept
testing (which is currently used by the BASES
simulated test market system as well as by
several copytesting companies).
Meanwhile, other researchers during the late
seventies began to question the validity of
recall as a measure of breakthrough.7 To some
81234Amertest_Book.qxd 8/29/08 8:05 AM Page 11

A S HORT H ISTORY OF T ELEVISION C OPYTESTING 11

researchers, the construct of breakthrough is

about the ability of the commercial execution
to win the fight for attention and get noticed
immediately, which is what many creatives
assume is the first task that advertising must
perform in creating a sale. Of course, this is not
the same as measuring what happens to a
commercial after it’s been processed through
long-term memory. An important distinction
was made between the attention-getting power
of the creative execution and how well branded
the ad was. One of the reasons an ad may fail
in a recall test, it was argued, even if it broke
through the clutter and garnered a lot of atten-
tion, is that the memory of it might simply be
filed away improperly in the messy filing
cabinets of the mind so that it becomes difficult
to retrieve with the standard verbal recall
prompts.
This debate ran parallel to the ongoing
debate of recall versus recognition as the best
approach for tracking advertising awareness in-
market. These two very different ways of
tapping into memory for evidence of advertis-
ing awareness can produce very different
measurements, usually substantially higher for
recognition.8
For researchers on the recall side of the
debate, the standard approach to measuring ad
recall with telephone surveys provides consis-
tency and comparability between the recall
Exploring the Variety of Random
Documents with Different Content
The text on this page is estimated to be only 16.10%
accurate

Upper Mars. LINES AND SIGNS OX TI-IC MOUNTS. Upper

Mars. 109 success of the subject. Also bronchitis and disease of the
larynx. .3 Horizontal lines from the Percussion — Enemies; for each
line an enemy; their length and depth indicate their power. ,d ^> If
fhev cross the Line of Liver — The health is affected by these
enmities: if tjuv cross the Line of the Sun, money matters are
affected; if thev cross the Line of Fate, the career is endangered; if
they cut the Line of Life, relatives or supposed close friends are the
guilty ones. In that last case sec Chapter on the I.itu-^ of Influence.
D Crossed Lines from the Percussion or simply on the -Mount,
particularly if deep ■•mil forked — Severe throat and bronchial
troubles. Laryngitis. -Twn mixed horizontal lines from the Percussion
on the Upper Mount of Mars ending in a fork. "A lady complaining of
bronchial troubles was told that the above marking revealed a
trouble in the larynx, not the lungs." . SV ID z> ZIZ) A spot — A
wound in a fight. With an exaggerate Mount — The wound was
inflicted by the subject. « • ID A cross, with an exaggerate Mount —
Danger from the quarrelsome or stubborn disposition of the subject.
With a fairly developed Mount — Danger of bodily harm to be
suffered by the subject.
The text on this page is estimated to be only 13.00%
accurate

tit Tie Moon. LINES AND SIGNS ON THE MOUNTS. The

Moon. c J> ~5 A line down the Mount with a short one crossing it —
Tendency to chronic J ~^> rheumatism or gout. Especially in the
middle portion of the Mount. Fatal Aneurism Caused by Gout- — A
cross on the Mount of the Hflfl Mom and a Line of Heart broken
under the Mount of the Sun. "Generally found in the Jupiterian
types, who, being fond of good living are often attacked hy gout; the
extreme pains caused by gout often bring about some severe heart
troubles." » ■ L .Many confused lines — Visions, insomnia,
nightmares. Clear vertical lines from the Rascette and up the Mount
— Long travels. (See chapter on the- Rascette). Horizontal lines
starting from the percussion — Voyages. If they are crossed, broken
or islanded — Unpleasant or dangerous voyages. A voyage line
reaching from the Percussion to the Line of Heart and ending there
in a star — The subject will abandon everything for the saice of a
long voyage, probably with a sweetheart. Many confused and
crossed lines with a sloping, starred or chained Line of Head —
Tendency to insanity. Young Man Who Believed Himself Haunted by
Ghosts.— A fair Line of Life, but with a black spot at 19. A Line of
Head drooping at once. quite chained, to the Mount of the Moon. A
Line of Heart, starting from the Line of Life and Head and occupying
'he place of the Line of Head. A triple Girdle of Venus virtually
occupying the place of the Line of Heart and starting with a hit: si.tr
Ofl !n- Mount of Jupiter. The I owcr Mem WJ
The text on this page is estimated to be only 12.01%
accurate

A seric?. of crossed or confused line? at the upper part of

the Mount— Chronic diarrhea; if very Iieaw and forming a kind of
grille — Intestinal troubles of the gravest nature. Many confused and
cross lines at the bottom of the Mount — Bladder trouoften Di >
Disease Moon, "A friend of Desbarrollcs almost died from a
dangerous abscess in the intestines. A cross — Superstitious,
dreamy disposition. If large, a deceiving nature, or, at least, one
prone to bragging. In mat 
The text on this page is estimated to be only 14.17%
accurate

The Moon. LINES AND SIGNS ON THE MOUNTS. Diabetes.

— A long voyage line from the lower Percussion of the Mount of the
Moon cutting the Line of Life, with a star on the Mount. "A young
man afflicted with a terrible thirst (for water) was soon to be
troubled with severe diabetes; water caused his illness." Disease- of
the Bladder: The Stone.— A much chained and poor Line of Heart. A
Line of Head broken under the Mount of Saturn and sloping down
into the lower part of the Mount of the Moon and ending in a star;
that part of the Mount being much rayed and cross-rayed, a ray of
the star extending to the lower palm (the bottom of the triangle).
"Sicii in |be hand of an old soldier, who pretended never to have
been ill, but acknowledged being troubled with calculi (or stones) in
the bladder." A triangle — Wisdom in the use of high imaginative
faculties. *i grille — Melancholia; nervous troubles; troubles of the
womb and bladder. Read what I have to say about confused lines
and rn-'s lines on tin- Mount. Grilles, on the Mounts of the Moon and
Venus are
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookname.com