50 Cent Accuses 'Empire' Creators of Copying His 'Power' Marketing Tactics

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If you listen to 50 Cent‘s rhymes, he’s made it clear that he doesn’t tolerate snitches, but there’s also another thing the rapper-turned-mogul can’t stand: a copycat.

Fif, who is the executive producer behind the Starz original scripted drama ‘Power,’ took to Instagram to blast the creators of the Fox TV series ‘Empire’ for stealing his marketing tactics.

“POWER Season 2 is unbelievably good trust me,” 50 wrote in an Instragram post accompanied by video of a ‘Power’ spot. “I have the best writers and show runner. I like Terrence Howard and Taraji Henson. I don’t like that They would copy the Marketing.”

Both shows feature leading black male characters who struggle with balancing the street life and building their legacies the legit way via the entertainment industry. While Lucious Lyon, played by Howard, is handed a terminal death sentence and must decide which son to leave his record label to in ‘Empire,’ ‘Power’ focuses on the double life of a drug dealer-turned-nightclub owner who wants out of the drug game.

50 Cent could be on to something given the drug, music, money and sex aspects of both series, but he ultimately left it up to fans to judge.

Just minutes before calling out Howard and Henson, Fif posted a split image of Howard and Omari Hartwick of ‘Power,’ asking his female followers which show they preferred.

‘Power’ will return to Starz for season two in 2015, meanwhile ‘Empire’ will premiere on Fox on Jan. 7, 2015. Will you be #TeamPower or #TeamEmpire or tune into both? Watch the trailers for each below.

Watch the Trailer for ‘Empire’

Watch the Trailer for ‘Power’ Season 1

See 10 Rappers & Singers Promoting Unexpected Products

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Gangland - Boss Army (Cleveland, OH)

Special edition Gangland, Boss Army of Cleveland, Ohio. Watch one of the hottest, and fastest growing names in the Cleveland entertainment scene as they are featured in this special episode of Gangland. Home to the "Rock & Roll Hall Of Fame," Cleveland is a point of interest to visitors.

Underneath the historic landmarks and busy downtown nightlife, there is a violent, brutal, and vicious way of life within the city itself. With a diverse culture, there are all types of gangs in Cleveland. Some came from other states and started sets here, others were created right in the origin and the heart of Cleveland.

There are tons of gangs and cliques all around the city of Cleveland. With a raising homicide rate nearly up 30% in the last year, its no wonder why the gangs are constantly popping up more often in Cleveland. Sex, drugs, money, and murder are the 4 things that run this city.

Boss Army is a production company that has fine roots in the emotionless streets of Cleveland. Its evident that Boss Army is more then just a production company, but their presence in the streets grown more each day. If there is a major event going on in the underground entertainment scene, 9 times out of 10, Boss Army is tied to that event in some way, shape, or form. 

Boss Army Productions - Promotional Video

R-Stonze and Pistol P do a short promotional video for "Boss Army Productions", which is a company which the two are affiliated with. Boss Army Productions & Marketing -(BA) is a new underground label/production company that is rapidly expanding. BA's mission is to incorporate many different types of media to empower and enlighten minds. 

Any artist, model, promoter, designer, videographer, anyone in the field of entertainment looking to network for promotion and marketing, or to be affiliated with a surging movement in entertainment and the streets, visit the official Boss Army Facebook page and contact the CEO.

https://www.facebook.com/BossArmyProductions

Real and Virtual Firearms Nurture Marketing Link

Sorry, I could not read the content fromt this page.Sorry, I could not read the content fromt this page.

Advertising: Adobe Marketing Campaign Works With Coarse Language

In this instance, the brand is Adobe, which in a campaign getting under way this week seeks to support efforts by marketers to prove to their bosses that spending on advertising is not a waste of money. The campaign portrays products like Adobe Analytics, Adobe Media Optimizer and Adobe Social as valuable tools for marketing executives who want to debunk myths like “Social media is worthless” and “Marketing is baloney.”

Except that Adobe Systems and its agency — Goodby, Silverstein & Partners in San Francisco, part of the Omnicom Group — do not say “baloney” in the ad. Rather, they use an abbreviation for a word that a family newspaper would describe as a barnyard epithet.

The full epithet, with an asterisk replacing a letter, appears on a document that Adobe is circulating internally to explain that the purpose of the campaign is to prove that marketing can no longer be dismissed with the epithet because “today’s campaigns are rooted in hard data and powerful insights.”And the epithet appears unexpurgated in Web video clips that are part of the campaign, visible briefly on a Dymo-style label affixed to a fanciful detector contraption in scenes set in (make-believe) focus group sessions.

Adobe Systems will spend an estimated $10 million to run the campaign in the United States for the next three months. The decision to use the provocative language is indicative of a trend for ads to speak more in the vernacular than in the formal phraseology that was standard for so many decades. The frank language and colloquial expressions follow the loosening of societal standards for discourse, reflecting how marketers seek to mirror changes in consumers.

For instance, Procter & Gamble, for decades a model of rectitude in its ads, is now often adopting the look and feel “of YouTube video” when producing television commercials, said Marc S. Pritchard, global marketing and brand building officer at Procter.

That is why in a recent commercial for Tide detergent, in which a couple talk about the value of Tide versus lower-priced alternatives, the actress playing the wife tells the actor playing the husband that he stinks at folding clothes — only she uses a far more direct verb.

“We’re a family company,” Mr. Pritchard said in a speech at the 2012 annual conference of the Association of National Advertisers, and “there was more than a little discussion about that line.”

But new efforts for Tide that include the franker commercial have helped the brand grow “more than two-and-a-half share points in the last three months alone,” Mr. Pritchard said, referring to market share.

For Adobe, said Ann Lewnes, chief marketing officer at Adobe Systems in San Jose, Calif., the language represents “a bold and provocative way to get attention.”

“I think Adobe is not known for being provocative or bold,” Ms. Lewnes said. “We’re ‘a nice software company.’ ”

“But in this crowded space, with a lot of competition, the intent is to break through, jolt the market,” she added.

Asked if the strategy was risky, Ms. Lewnes replied: “I don’t think so at all. I think good advertising is always somewhat polarizing.”

The campaign is based on the premise that “marketers feel angry about being misunderstood,” she said, and the language in the campaign is meant to reflect that.

The campaign includes, in addition to the Web video, advertisements in newspapers and magazines, and online; sponsored content on mashable.com and theonion.com; sharing the metrics of the campaign, in real time, on adobe.com; and social media like Facebook, LinkedIn, Twitter and YouTube. On Twitter, Adobe will use the hashtag “#MetricsNotMyths” to underline the campaign’s theme.

The barnyard epithet is appropriate for the campaign because “for a long time, people did not know if the work was working, so you had to use a little” baloney in discussing the effectiveness of the advertising with other executives in the C-suite, said Keith Anderson, associate partner and executive design director at Goodby, Silverstein.

“It made you feel less confident,” Mr. Anderson said. “But now, you can know, you don’t have to guess, you can have hard facts to back you up.”

The frankness of the campaign also signals that the agency and Adobe Systems realize “if we were flowery, overly clever, jargony, the more it would feel like we were doing the same thing we were saying people don’t need to do anymore,” he added.

“We did look at other ways of making that statement” than to use the epithet, Mr. Anderson said, but it was decided to proceed because “the goal is to be provocative and reset the conversation.”

The language also conveys that Adobe is “plain-spoken,” he added, “and talks the way people talk.”

The products being advertised in the campaign compose what Adobe Systems is calling the Adobe Marketing Cloud, which competes against products sold by many companies; among them, Ms. Lewnes listed Google, I.B.M., Kenshoo and Salesforce.

The campaign is supplementing a more mainstream effort for Adobe, Ms. Lewnes said, which is also created by Goodby, Silverstein and carries the theme “Adobe &.” To indicate the connection, the campaign carries the theme “Adobe & marketing.”

Small-Business Guide: Small Companies Seek to Push Sales and Marketing With Own Apps

Ms. Gurock deployed an app that allowed in-store customers to bypass the cash registers and check out their purchases themselves, on their mobile devices. Magic Beans got the app at no charge by working with its creator and agreeing to be a retail testing ground.

The app also allowed customers to scan a bar code to get product information, descriptions and reviews that had previously been available only to customers shopping online. When a customer bought an item using AisleBuyer, the app would automatically recommend two related products in the store and offer discounts and coupons. That resulted in an 8 percent increase in sales to those who used the app, Ms. Gurock said.

But the app has been used by just 5 percent of customers, Ms. Gurock said. Although she contends mobile self-checkout represents the future of retail, Magic Beans, which has five stores in the Boston area and 50 employees, was “very early to the party,” she said. “This app was on a mission to change 100 years of shopping habits, where the in-store experience is bringing your items to a cashier.”

As a result, she said Magic Beans was phasing out AisleBuyer, but she expected to try again — and with good reason. By the end of this year, according to the digital marketing firm eMarketer, there will be 116 million smartphone users in the United States.

At that point, reports Cisco, the number of mobile-connected devices globally will exceed the number of people. That is a large and expanding canvas for apps when consumers have come to expect one for almost everything, said Noah Elkin, an analyst with eMarketer. “It’s getting to the point where apps are similar to search,” he said. “If you don’t get any results for a brand, that brand doesn’t exist.”

That puts growing pressure on small businesses to create and publish their own apps. This guide looks at the experiences of several companies that have tried.

BUILDING IT: THE BASICS There are essentially two kinds of apps. Native apps are written for specific operating systems — Apple’s iOS, for example, or Google’s Android — and are installed directly on a device. They are available through online stores like iTunes or Google Play. Mobile Web apps run on a device’s Web browser — and because of that can be slower — but they work on a variety of systems. There is no app store for the mobile Web so those apps can be harder for consumers to find.

Small businesses can build native and mobile Web apps using do-it-yourself tools or by hiring a developer to custom-design one. Tiggzi, a development platform made by Exadel, offers drag-and-drop tools for building apps and integrates services like Facebook and OpenTable.

Titanium from Appcelerator does not require developers to have deep programming experience, but they do need to know JavaScript, HTML or CSS. EachScape, which also uses drag-and-drop tools, lets users build and manage apps that are delivered to a device as a native app.

Most platforms allow the builder to add features like push notifications (alerts that can announce sales, for example) and the ability to connect to social networks.

The cost depends on the scope and complexity of the app, Mr. Elkin said. For example, using Tiggzi, which is a cloud-based subscription service, the cost ranges from free for one app to $50 a month for 50. Custom designing an app can cost several thousand dollars.

MARKETING TOOL PrimeGenesis, an executive consulting firm in Stamford, Conn., created an iPad app last year to encourage users to buy the firm’s book, “The New Leader’s 100-Day Action Plan,” written by three of the company’s founders.

The firm has 13 partners and about $2 million in annual revenue, and it used Mobile Distortion, an app developer in San Diego. The app, which cost about $35,000, provides executives entering a new company with an interactive, mobile template for creating and carrying out a 100-day action plan.

PrimeGenesis sells the full app for $9.99 (a basic version is free), but George Bradt, managing director, says the firm measures the app’s success by the number of clients it produces. “The app is there to drive people to the book, which markets our firm,” he said.

Each new client it attracts represents about $50,000 in revenue. “If we sell 10,000 books a year and convert five buyers into consulting assignments,” Mr. Bradt said, “that’s a quarter of a million dollars.”

Advertising: At Advertising Week, the Vital Role of Digital Marketing

That can be divined from the schedule for the 2012 Advertising Week, which began on Monday and continues through Friday. Scores of the more than 150 panels, speeches and presentations are devoted to newer marketing methods, with companies like Facebook, Instagram, Pinterest, Tumblr and Twitter being discussed about as often as parodies of “Call Me Maybe” are uploaded to YouTube.

And there are numerous daylong or multiday events focusing on digital, mobile and social, among them O.M.M.A. (Online Media, Marketing and Advertising) Global, sponsored by MediaPost Communications and composed of five conferences in areas like mobile, video and social media; SM2 2012, the Smarter Mobile Marketing conference, sponsored by the Mobile Marketing Association; the Mobile Media Summit 2012; and the Mixx Conference and Expo, sponsored by the Interactive Advertising Bureau.

Facebook took the opportunity of a session at the Mixx conference to answer questions about the efficacy of buying advertising on its site — questions that were widespread even before the company’s disappointing initial public offering.

Brad Smallwood, director of pricing and measurement at Facebook, discussed the findings of a study the company hoped would change advertisers’ minds about depending on measurements like clicks to determine the success of campaigns on facebook.com. The goal is to have them perceive the social network more as a medium akin to television for branded advertising

“If you ran a campaign in the last five years, you focused on clicks,” Mr. Smallwood said, but “demand fulfillment is only one piece of the marketing puzzle.”

“We have to provide a solution for the brand marketers of the world,” he added.

The study was conducted with a new Facebook partner, Datalogix, a company that measures in-store purchases. Fifty campaigns on Facebook were measured, for brands from giant marketers like Nestlé, Procter & Gamble and Unilever. When purchase data from stores was combined with data about ad impressions on Facebook, the study found that 70 percent of the campaigns enjoyed three times greater return on their budgets, and 99 percent of the sales came from consumers who did not interact with the Facebook ads.

•

At another Mixx presentation, Joel Lunenfeld, vice president for global brand strategy at Twitter, shared data about the relationships people have with brands on twitter.com.

Nine out of 10 people on Twitter follow at least one brand, Mr. Lunenfeld said. Although most said they did so for promotions, coupons and free products, he said that 87 percent said they followed brands for fun and entertainment and 80 percent said they did so for access to exclusive content.

Among the examples presented by Mr. Lunenfeld were how brands like Panasonic and Procter & Gamble use Twitter. Perhaps most interesting was Mr. Lunenfeld’s connection between Twitter posts and television commercials.

“Twitter is the EKG of action for television,” he said, adding that 50 percent of people who use Twitter do so while watching TV.

“Brands that are engaging in conversations are finding really prominent ones and turning those into campaigns,” Mr. Lunenfeld said. For instance, the Audi division of Volkswagen of America noticed that an Audi brand fan had posted a message with the hashtag “#IWantAnR8.” Audi brought the fan an Audi R8 to drive, he said, and turned the test drive into a commercial.

Rick Webb, a consultant for marketing and revenue at Tumblr, began the company’s first-ever presentation at an advertising conference by sharing data. Tumblr has 75 million blogs, he said, and visitors spend 18 minutes per visit on tumblr.com.

Although Tumblr does not track the behavior of users or their personal details, Mr. Webb said, brands are beginning to take notice of the platform. Tumblr recently opened up to brands a small section of its pages, known as Radar, where outstanding Tumblr content is highlighted.

Since May, about 10 percent of the content in the Radar box has been sponsored, Mr. Webb said, offering as an example an animated gif, or image, of a glass Coca-Cola bottle spinning on a floor.

Mr. Webb acknowledged the ubiquity on the Web site of all things feline, including cat videos and animated gifs, by describing Tumblr as “a massive amount of technology brought to bear to animate cats.”

•

A cheeky characterization of the content on another social media site, Instagram, was offered during a breakfast that featured a conversation between Vivian Schiller, senior vice president and chief digital officer at the NBC News division of NBCUniversal, and Alex Wagner, the anchor of “Now With Alex Wagner” on the MSNBC cable channel.

“Instagram is mostly a repository for brunch photos,” Ms. Wagner said, laughing. She is also a fan of Twitter, she added, where she had, as of Tuesday afternoon, more than 34,700 followers.

When Ms. Wagner asked Ms. Schiller what she believed would be the next big thing in social media, Ms. Schiller replied, “I have no idea, and anybody who says they do is making it up.”

Ah, grist for additional discussions at future Advertising Weeks.

Advertising: Samsung-Apple Fight Moves to the Marketing Arena

In a round of ads that began this week, Samsung takes direct aim at Apple, claiming its Galaxy phone is a better choice than the new iPhone 5.

While going after a competitor in an ad is not a new technique, the tone of the Samsung ads is decidedly sarcastic for a technology company emerging from a $1 billion defeat in the latest patent battle between the two companies.

One of the ads features the company’s new Galaxy S III alongside the iPhone 5. The ad, which began appearing in print publications over the weekend, features an image of an iPhone tilted to the right and a white Galaxy phone tilted to the left under the headline, “It doesn’t take a genius.” Below each phone is a list of its features.

“This is a marketing campaign; it’s not a legal campaign,” said Teri Daley, a Samsung representative. “As marketers we’re focused on educating consumers. We feel like they’ve somewhat been led down a blind path when truly that innovation has stopped a long time ago.”

The genius reference could be interpreted as a swipe at the Apple customer support employees, who work at the company’s “Genius Bars.” This summer, Apple started a television ad campaign featuring a Genius Bar employee. The campaign was short-lived.

Todd Pendleton, Samsung’s chief marketing officer, said the “It doesn’t take a genius” ad was not meant to insult iPhone owners. “Apple users or fanboys, or whatever you call them, they’re not the target of this work at all,” he said. “If you look at the core essence of the work, it really is showing an innovation story. A more innovative product in this case is the GS III.”

Innovation has been at the heart of the dispute between the companies. In August, a California jury ruled that Samsung had infringed upon a series of mobile technology patents and awarded Apple $1 billion in damages.

In a statement after the verdict, Samsung showed it was still in fighting spirit. “It is unfortunate that patent law can be manipulated to give one company a monopoly over rectangles with rounded corners, or technology that is being improved every day by Samsung and other companies,” the company said. It vowed that the defeat was “not the final word in this case or in battles being waged in courts and tribunals around the world, some of which have already rejected many of Apple’s claims.”

In an interview, Mr. Pendleton said Samsung’s new ads were part of a larger campaign for the Galaxy S III that began in June and included ads on television, online, in print and in outdoor areas, like posters at bus stations. Major markets for the company include Chicago, Dallas, Los Angeles, San Francisco and New York, he said.

A headline on a Samsung ad that ran in newspapers on Sept. 9, days before Apple introduced its iPhone, says, “The Next Big Thing Is Already Here.” Samsung used a similar tag line in 2011, “The Next Big Thing Is Here,” to promote its 4G service and the Galaxy S II. Television ads for that campaign showed people waiting in line for the latest Apple device while Samsung owners showed off the features of phones they already had.

Adding the word “already” to this latest iteration of the campaign signaled the brand’s focus on the iPhone 5 coming to market. The technology blog Gizmodo published a collection of homemade ads that Apple fans created in response to the latest Samsung ads. Headlines included “Don’t settle for cheap plastic” and “In high school, it doesn’t take a genius to understand who is just a bully.”

Apple, which declined to comment about the Samsung campaign, has undertaken its share of ad campaigns mocking the competition.

Ken Segall, the ad guru who worked on Apple’s “Think Different” marketing campaign and the author of “Insanely Simple,” a book about Apple, said that over the years, Apple learned to apply a light touch of humor when it mocked competitors in ads. For example, in its previous “Get a Mac” TV commercials, a PC, personified by a pudgy John Hodgman, exchanged comedic jabs with a Mac, played by a handsome Justin Long.

In 1985, Apple ran an unpopular TV commercial during the Super Bowl that depicted PC users as mindless lemmings leaping to their death from a cliff. “It was widely panned because they were insulting the ones they were trying to talk to,” said Mr. Segall, who worked at TBWA\Chiat\Day, the agency that produced the ad.

Samsung’s new ads are repeating the same mistake, he said, by making iPhone customers seem foolish. “It seems like an odd way to seduce them because you’re basically telling them they’re idiots,” he said.

While Apple has outspent Samsung on advertising wireless devices, both companies have increased their ad spending in that category over the last year, according to data from Kantar Media, part of WPP. From January to June, Apple spent $193.1 million on advertising mobile products, while Samsung spent $99.9 million. In 2011, Apple spent $104.1 million during the same period, while Samsung spent $6.95 million.

Tom Denari, the president and a principal at the advertising agency Young & Laramore, said the Samsung campaign was reminiscent of the Pepsi and Coke wars of the 1970s and ’80s.

“It’s a classic challenger strategy, where No. 2 throws stones at the leader, in order to attract attention to itself,” Mr. Denari said.

Any brand would like to have the kind of loyalty that Apple gets from its fans, Mr. Denari said, “because these fans identify themselves so closely to the brand that they feel that Samsung is not only attacking Apple, but they feel like they are being personally attacked as well.”

Bill Winchester, chief creative officer of Lindsay, Stone & Briggs, said Samsung should decide what its brand stands for instead of responding to whatever Apple does and competing with Apple based on the features of the phone. “At the end of the day, don’t you think these phones more or less do the same thing?” said Mr. Winchester, who uses an iPhone. “We carry these as a prop to tell people in the world what we are. As soon as you get down to features and starting to compare features, you’re not really going to convince me at that level.”

Advertising: Samsung-Apple Fight Moves to the Marketing Arena

In a round of ads that began this week, Samsung takes direct aim at Apple, claiming its Galaxy phone is a better choice than the new iPhone 5.

While going after a competitor in an ad is not a new technique, the tone of the Samsung ads is decidedly sarcastic for a technology company emerging from a $1 billion defeat in the latest patent battle between the two companies.

One of the ads features the company’s new Galaxy S III alongside the iPhone 5. The ad, which began appearing in print publications over the weekend, features an image of an iPhone tilted to the right and a white Galaxy phone tilted to the left under the headline, “It doesn’t take a genius.” Below each phone is a list of its features.

“This is a marketing campaign; it’s not a legal campaign,” said Teri Daley, a Samsung representative. “As marketers we’re focused on educating consumers. We feel like they’ve somewhat been led down a blind path when truly that innovation has stopped a long time ago.”

The genius reference could be interpreted as a swipe at the Apple customer support employees, who work at the company’s “Genius Bars.” This summer, Apple started a television ad campaign featuring a Genius Bar employee. The campaign was short-lived.

Todd Pendleton, Samsung’s chief marketing officer, said the “It doesn’t take a genius” ad was not meant to insult iPhone owners. “Apple users or fanboys, or whatever you call them, they’re not the target of this work at all,” he said. “If you look at the core essence of the work, it really is showing an innovation story. A more innovative product in this case is the GS III.”

Innovation has been at the heart of the dispute between the companies. In August, a California jury ruled that Samsung had infringed upon a series of mobile technology patents and awarded Apple $1 billion in damages.

In a statement after the verdict, Samsung showed it was still in fighting spirit. “It is unfortunate that patent law can be manipulated to give one company a monopoly over rectangles with rounded corners, or technology that is being improved every day by Samsung and other companies,” the company said. It vowed that the defeat was “not the final word in this case or in battles being waged in courts and tribunals around the world, some of which have already rejected many of Apple’s claims.”

In an interview, Mr. Pendleton said Samsung’s new ads were part of a larger campaign for the Galaxy S III that began in June and included ads on television, online, in print and in outdoor areas, like posters at bus stations. Major markets for the company include Chicago, Dallas, Los Angeles, San Francisco and New York, he said.

A headline on a Samsung ad that ran in newspapers on Sept. 9, days before Apple introduced its iPhone, says, “The Next Big Thing Is Already Here.” Samsung used a similar tag line in 2011, “The Next Big Thing Is Here,” to promote its 4G service and the Galaxy S II. Television ads for that campaign showed people waiting in line for the latest Apple device while Samsung owners showed off the features of phones they already had.

Adding the word “already” to this latest iteration of the campaign signaled the brand’s focus on the iPhone 5 coming to market. The technology blog Gizmodo published a collection of homemade ads that Apple fans created in response to the latest Samsung ads. Headlines included “Don’t settle for cheap plastic” and “In high school, it doesn’t take a genius to understand who is just a bully.”

Apple, which declined to comment about the Samsung campaign, has undertaken its share of ad campaigns mocking the competition.

Ken Segall, the ad guru who worked on Apple’s “Think Different” marketing campaign and the author of “Insanely Simple,” a book about Apple, said that over the years, Apple learned to apply a light touch of humor when it mocked competitors in ads. For example, in its previous “Get a Mac” TV commercials, a PC, personified by a pudgy John Hodgman, exchanged comedic jabs with a Mac, played by a handsome Justin Long.

In 1985, Apple ran an unpopular TV commercial during the Super Bowl that depicted PC users as mindless lemmings leaping to their death from a cliff. “It was widely panned because they were insulting the ones they were trying to talk to,” said Mr. Segall, who worked at TBWA\Chiat\Day, the agency that produced the ad.

Samsung’s new ads are repeating the same mistake, he said, by making iPhone customers seem foolish. “It seems like an odd way to seduce them because you’re basically telling them they’re idiots,” he said.

While Apple has outspent Samsung on advertising wireless devices, both companies have increased their ad spending in that category over the last year, according to data from Kantar Media, part of WPP. From January to June, Apple spent $193.1 million on advertising mobile products, while Samsung spent $99.9 million. In 2011, Apple spent $104.1 million during the same period, while Samsung spent $6.95 million.

Tom Denari, the president and a principal at the advertising agency Young & Laramore, said the Samsung campaign was reminiscent of the Pepsi and Coke wars of the 1970s and ’80s.

“It’s a classic challenger strategy, where No. 2 throws stones at the leader, in order to attract attention to itself,” Mr. Denari said.

Any brand would like to have the kind of loyalty that Apple gets from its fans, Mr. Denari said, “because these fans identify themselves so closely to the brand that they feel that Samsung is not only attacking Apple, but they feel like they are being personally attacked as well.”

Bill Winchester, chief creative officer of Lindsay, Stone & Briggs, said Samsung should decide what its brand stands for instead of responding to whatever Apple does and competing with Apple based on the features of the phone. “At the end of the day, don’t you think these phones more or less do the same thing?” said Mr. Winchester, who uses an iPhone. “We carry these as a prop to tell people in the world what we are. As soon as you get down to features and starting to compare features, you’re not really going to convince me at that level.”