Advertising Agency: Leo Burnett, Sydney, Australia
Chief Creative Officers: Andy Dilallo, Mark Tutssel
Creative Directors: Vince Lagana, Grant Mcaloon
Copywriters: Iggy Rodriguez, Andy Dilallo
Art Directors: Justin Carew, Andy Dilalo
Photographer: Simon Lister
Producer: Michelle Browne
Retoucher: Michel Luland
Advertising Agency: Leo Burnett, Sydney, Australia
Chief Creative Officers: Andy Dilallo, Mark Tutssel
Creative Directors: Vince Lagana, Grant Mcaloon
Copywriters: Iggy Rodriguez, Andy Dilallo
Art Directors: Justin Carew, Andy Dilalo
Photographer: Simon Lister
Producer: Michelle Browne
Retoucher: Michel Luland
The eventful episode on AMC Sunday night drew the biggest audience for a finale in the show’s six-year run.
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Nik Wallenda’s 23-minute walk drew more viewers to Discovery than anything else on television on Sunday night.
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Patrick McGrath, founder and CEO of ad agency Jordan Case & McGrath, passed away Saturday at age 79 from complications related to prostate cancer.
Before founding his agency that that served such blue-chip marketers as Procter & Gamble and Nestle, Mr. McGrath worked at Benton & Bowles. In 1969, he branched off to join legendary Volkswagen art director Helmut Krone and Gene Case at Case & Krone. The agency later became Jordan Case McGrath. A suite at the Plaza Hotel functioned as the agency’s office in its early years, when it represented accounts such as beverage flavor Angostura bitters; politician Bob Wagner, who was New York City’s mayor from 1954 to 1965; and Francis Sargent, governor of Massachusetts from 1969 to 1975.
Mr. McGrath was known to be outspoken. A 1970 Ad Age editorial was dedicated entirely to criticizing his dismissive comments on the brand management system. He told Ad Age in 1972 that a powerful visual idea was missing in 75% of ads, and the cigarette category was a disaster because ads for Newport, L&M and Winston completely lacked visual ideas. “It would make no difference what name you use in the ad,” he said. “They’re a shocking waste of large sums of money.”
(TrendHunter.com) A fantastic way to cool off during the summer months is to have a nice swim in a backyard pool, and if you’re looking to build something that architectural enthusiasts will enjoy, then these…
iPhone users have been called and compared to a lot of things over the last year–sheep, fan boys, posers who don’t know all the much about smartphones. The most agressive culprit, of course is Samsung, but now Nokia is taking a stab. In this new spot for the brand’s Lumia, the iPhone turns its users into zombies–but for reasons you wouldn’t expect.
Along with any implications of mindless behavior, it’s because the iPhone’s camera flash make subjects of its pictures look kind of like the walking dead. In the spot, a noticeably tan male walking down a poorly lit street, late at night. Lights flash and red-eyed, pale, expressionless zombies appear out of nowhere.
One of the walkers nears the frightened leading man. The chalky-faced figure takes a threatening stance, with a black iPhone 5 in hand, and utters the only word heard in the minute and half spot: “Photo.” The point of all this, of course, is to show how the Nokia has the better camera.
Basé à Francfort en Allemagne, le studio de motiongraphic Barbecue nous propose de découvrir « Bloom », une expérience visuelle réalisée à l’aide d’After Effects et divers outils, présentée sur un sound-design de Michael Kadelbach. Plus d’images et de détails dans la suite.
At the final awards ceremony of the Cannes Lions Festival of Creativity on Saturday night, creative legends Dan Wieden and Lee Clow both said they wished they’d created “Dumb Ways to Die,” the safety campaign created for Metro Trains by McCann Australia. The campaign won five Grand Prix awards at the festival.
That’s quite the compliment for John Mescall, the agency’s exec creative director. As the festival was wrapping up, he spoke to Ad Age about the keys to coming up with great campaigns and how the agency plans to keep the message of train safety top of mind.
“End nasal congestion. Naldecon, against flu symptoms.”
Advertising Agency: Fischer&Friends, São Paulo, Brazil
Creative Director: Beto Rogoski, Sthefan Ko, Mário D’Andrea
Art Director: Vitor Menezes
Copywriter: André Lima, Kiko Borger
Illustrator: Carlos Karan, Leandro Dessoy, Sthefan Ko, Vitor Menezes
Advertising Agency: Doner, USA
Co-CEO, Chief Creative Officer: Rob Strasberg
EVP, Executive Creative Director: Murray White
Creative Director: Jason Bergeron
Copywriter: Anthony Moceri
Art Director: Alexander Drukas
Executive Producer: Laurie Irwin
Director of Broadcast Production: Jack Nelson
Production Company: Supply and Demand
Director: Paul Goldman
Duas belas garotas na praia, se bronzeando. Só pelo começo do comercial, o produto em questão poderia ser absolutamente qualquer coisa, de cerveja a enxaguante bucal, passando por protetor solar, lojas de departamento ou gadgets. As duas seguem para a água, para um refrescante mergulho quando, de repente…
É no “de repente” que está toda ação do filme que anuncia uma versão à prova de vazamentos de Tampax. Lendo alguns comentários por aí, a campanha foi considerada brutal por algumas pessoas, que questionaram como o cliente aprovou o material.
O filme é apontado como um comercial russo veiculado no final de fevereiro, mas que de tão bizarro, acabou viralizando só agora. As partes de ser bizarro e de só estar chamando atenção agora são reais, ao contrário do comercial em si. Na verdade, é uma espécie de video promocional para o filme Movie 43, que inclusive já foi lançado por aqui também.
Os russos, que já não têm lá uma boa reputação em se tratando de publicidade, acabaram levando a fama por mais uma terrível (ainda assim engraçada) propaganda de absorvente.
Agora, o mais maluco nisso tudo é que toda brincadeira tem seu fundo de verdade e a própria marca Tampax já usou essa ideia, não na Rússia, mas na França, com assinatura da Leo Burnett. Menos brutal, mas ainda assim de gosto duvidoso.
Post originalmente publicado no Brainstorm #9
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In a good year for the U.S. Hispanic market, five Hispanic agencies won eight Lions at the Cannes Lions International Festival of Creativity.
Independent Grupo Gallegos won two prizes for a long-running campaign for the California Milk Processor Board to encourage Hispanics in California to drink more milk. A Silver Lion in the film category recognized TV commercial “Battle,” depicting a child’s fantastical dreams from drinking a glassful of milk before bedtime. A Bronze media Lion went to the “Bedtime Stories” campaign children to bed with a bedtime story. The agency also created a series of bilingual story books, distributed through pediatricians’ offices as well as downloaded from a website, that feature milk in a heroic role in the narratives.
Alma DDB won two Silver Lions, in the outdoor and promo & activation categories, for “The Glad Tent.” Alma tackled the issue of sustainability, developing giant Glad trash bags in the form of tents. Ten Glad Tents were distributed at SXSW to attendees who promised to live in them and then use the tents as a giant trash bag to dispose of rubbish at the end of the festival. The Glad Tent was perfectly targeted to millenials who care about the environment but wouldn’t normally feel a connection to Clorox’s Glad brand.
From Adbusters #108: The Epic Human Journey: Part 2, Summer
KHALIL ASHAWI / REUTERS
Today, Syria’s Foreign Minister Walid al-Moualem announced that his country will attend the planned peace talks in the Swiss city of Geneva but will not handover power. Chances for negotiation are looking slim due to the diverging positions of the two sides on the nature of these peace talks. Moualem calls on Syria’s neighbors to stop arming the rebels, and marks the decision made by Western and Arab countries on Saturday to further arm those rebels as one that will only prolong the crisis and deepen the bloodshed. And it will …
Syria is the face of the new mode of war – a complete disintegration of all values, all politics, all religion, all senses of humanity.
Children murdered for anti-government graffiti. Tanks and brigades marching door-to-door killing anything that moves. Funerals targeted for their high casualty ratios. Superpowers standing aside betting on the outcome like gamblers at a cockfight.
As the disorder spreads, former torture subcontractors of the West, like Syria’s Assad, will be carefully stage-managed. They will fall painfully and slowly, ensuring that everything around them is destroyed, including their secrets.
Movements like Al Qaeda will be made the enemies on one region of the globe and heroes in another, like the Al Qaeda-aligned Al-Nusra brigade who is leading the battle against the Syrian regime,the West’s new and uncomfortable partner in the Middle East.
Allegiances will handcuff the world military elite into rebranding terrorist organizations as freedom fighters and vice versa.
Neighborhood by neighborhood. Block by block. Old tensions will rise. new tensions will meld into a hyperlocality with no fixed position, logic or middle. There will be no black or white. No good or bad. No right or wrong. Violence will become so visceral that it will be banal. Acts of kindness will be greeted with kicks to the jaw and bayonets to the belly.
Gas. Nukes. Shells. Grenades. Knives. Piano wire. Bare hands. There will be no limit and nobody will be able to do a damn thing except watch, sigh, wish that it weren’t so and wait for it to come to their door.
Peace will be a delicacy. Pillage the wages of conflict. Any critique will be contradiction. Soon, no one on earth will have clean hands. Refugees will deserve to die according to some scheme or another. Only the spent shell casings and dried blood will know the truth. And even that will be buried and washed away.
(TrendHunter.com) Summer allows people to dress in all sorts of manner of clothing, and while many individuals adhere to conventional mainstream looks, retro-inspired ensembles are slowly becoming a look that many…
O ponto de partida foi um número: 241.095 crianças são vítimas de abuso todo dia (no Brasil, 15 crianças são vítimas de violência a cada hora, segundo a matéria do Fantástico de ontem).
Diante desse fato, no dia internacional da prevenção contra o abuso infantil, a organização francesa Innocence En Danger publicou um jornal global, o The Daily Abuse. Um jornal diferente formado por 48 páginas e 170 artigos formados por apenas nomes de crianças já abusadas pelo mundo. Uma forma de quantificar o tamanho do estrago dessa triste realidade. E a cada final de artigo, uma frase de impacto.
O assunto é triste e indigesto. E o que podia ser sensacionalista, vira uma ação sensacional e grandiosa de conscientização (ainda por cima sem nenhuma relação com doações em dinheiro).
O que importa é parar para refletir e aumentar a percepção desse problema gigantesco.
O final dessa história não podia ser outro a não ser números: o jornal foi publicado em 09 idiomas diferentes, em 23 grandes cidades pelo mundo, 720.000 de tiragem e mais de 1.000.000 de leitores. Uma ação de verdade, com uma proporção de verdade.
Post originalmente publicado no Brainstorm #9
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Dollar Shave Club, with its “Our Blades Are Fu**ing Great” slogan, isn’t exactly a traditional brand. Indeed, it’s best known for its crudely hilarious YouTube videos. But the firm has increased its ad budget to be where most old-school brands are well-established: TV.
Dollar Shave Club, which got its start offering a $1-per-month subscription plan for razor blades, has been running TV ads since January, but the company wasn’t necessarily sold on the concept. Radio historically had been its only offline ad channel, so it could be tracked well, said Adam Weber, VP of consumer marketing at Dollar Shave Club.
“We were very hesitant to go into television in the first place,” he said, noting concern that they wouldn’t be able to measure it well.
CNN’s morning show “New Day” lifted the network’s ratings in its first five days last week. But the network is still trailing Fox News and MSNBC for morning viewers.
The show, hosted by Chris Cuomo, Kate Bolduan and Michaela Pereira, averaged 302,000 total viewers Monday through Friday, CNN said today, citing Nielsen figures. That’s well ahead of the 198,000 viewers CNN averaged during the same week in 2012 with Soledad O’Brien.
It’s also north of the morning audiences CNN got the week immediately before “New Day” began, when it averaged 251,000 viewers.
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