(TrendHunter.com) A person can often not be trusted with his own dietary decisions, making the F3D Food Printer a really intelligent concept for the contemporary man. This innovative Electrolux device edits down the…
(TrendHunter.com) Entitled ‘Mushroom Magic’, the Romance Was Born Spring/Summer 2014 collection catalog embodies a psychedelic visual aesthetic. Taking inspiration from the idea of vivid hallucinations…
(TrendHunter.com) Top model Daphne Groeneveld struts her stuff in the 80s-inspired ‘Clash of the Tartans’ fashion story for Vogue Netherlands. Gracing the publication’s October 2013 issue, this…
In documents filed on Thursday, Twitter noted that it has been greatly expanding its inventory of advertising slots, especially for promoted tweets.
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Ao redor do mundo, o mês de outubro é dedicado à conscientização sobre o câncer de mama. Enquanto diversos prédios e movimentos adotam uma iluminação cor-de-rosa, entidades realizam campanhas direcionadas às mulheres. É o caso da bela The Naked Truth, que a Colenso BBDO de Auckland criou para a New Zealand Breast Cancer Foundation.
Para ilustrar as mudanças a serem observadas – por exemplo uma nova massa ou espessamento na área da mama ou da axila, diferença na forma ou tamanho da mama, alteração na pele da mama ou no mamilo, entre outras – foram utilizados objetos do dia a dia, colocados na altura dos seios das atrizes.
De certa forma, o filme da campanha lembra um pouco a Garotas do Calendário, longa-metragem de 2003 que conta a história de mulheres maduras que posaram nuas para levantar dinheiro a princípio para comprar um sofá para um hospital, mas que conseguiram levantar quantia suficiente para as pesquisas relacionadas à leucemia.
É uma maneira diferente de destacar a importância do auto-exame, sem repetir fórmulas tradicionais, mas que fica bastante claro como nós mesmas podemos colaborar com um diagnóstico precoce.
Post originalmente publicado no Brainstorm #9
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(TrendHunter.com) Sporting any of these spooky Halloween accessories should be just enough to tide you over until you can get into full costume on October 31st.
These creepy-chic accessories play up motifs from some…
The U.S. has already witnessed how Snickers can transform celebrities like Betty White and Aretha Franklin into normal people, courtesy of BBDO New York. Now, CLM BBDO gets in on the action with this “You’re Not You When You’re Hungry” spot, which marks the candy brand’s re-entry into the French market after a long silence. Directed by the Glue Society’s Gary Freedman, the commercial stars that iconic ’80s baddie, a Gremlin, who wreaks havoc all over a bro-pad. That is, until he satisfies his hunger with the chocolately, nutty treat.
The brand also released an accompanying behind-the-scenes video [below], which turns out to be more outrageous than the spot itself. It reveals the snafus that occurred during the commercial shoot, when Mr. Freedman (who we thought looked like this) turns into French children’s show star Chantal Goya and starts making bizarre decisions on set — like asking the Gremlin to play nice, replacing a refrigerator with a giant moon and dressing the actors in animal suits. Things take a turn for the better, finally, when she too digs into a Snickers bar.
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Mars Chocolate North America still hasn’t decided which brand to feature in its Super Bowl ad, Snickers or M&Ms.
The marketer, whose agency is BBDO, is in the process of developing ads for both brands, but only one of them will earn the coveted spot in the big game. Ad Age spoke with Mars Chocolate North America President Debra Sandler at this week’s Association of National Advertisers conference in Phoenix to get a better idea of how the company will make the decision, which she described as “an internal rat race.”
Ms. Sandler and David Lubars, BBDO’s chairman and chief creative officer for North America, also recalled at the conference how the 2010 Snickers Super Bowl spot that triggered Betty White’s career renaissance almost starred someone else.
Pat Kiernan, the morning news anchor for NY1, uses his day off to sleep until 8, take his family to Central Park and run errands in the car.
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Le duo de réalisateurs Fleur & Manu, interviewés dans notre saison 1 de Fubiz TV, a mis en images le morceau « Hate or Glory » de l’artiste éléctro français Gesaffelstein. Une production Division très sombre, montrant un jeune homme ambitieux et féru d’or courir à sa perte. A découvrir dans la suite de l’article.
Fusion, the new network that is a joint venture of Disney and Univision, named a chief, and Telemundo said its president, Emilio Romano, was stepping down.
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Years before he was hatching digital marketing strategies for clients, Dave Allen was a bona-fide rocker. His transition from bass guitarist for the famous English post-punk band, Gang of Four, into advertising is a fascinating career turn. And it’s one that exemplifies the ability for agencies today to mine for top talent in the most unexpected places.
He may not have been trained in a portfolio school, but consider Mr. Allen’s ability to break through the pop culture clutter. Along with the original members of Gang of Four, Jon King, Andy Gill, and Hugo Berman, he put out a debut album, “Entertainment!” that was dubbed among the top 100 albums of all time by Spin Magazine. Rolling Stone named it amongst the top 500. And Sophia Coppola used one of their hits as the title track to her movie ‘Marie Antoinette.’ If he could achieve those sorts of results for himself, why not for clients?
After leaving Gang of Four in the 1980s and dabbling in a few other rock bands, he began exploring the then-nascent Internet world. He worked at eMusic.com and was director of consumer digital audio services at Intel. From there he broke into the agency business, working at Portland firms such Overland Agency, Nemo Design, Fight and finally, North, where he is currently a director of interactive strategy.
When Snickers was considering its Super Bowl ad options in 2010, Betty White almost didn’t make it. The brand’s agency, BBDO, had actually recommended going with Aretha Franklin.
“She was the bigger star,” recalled David Lubars, BBDO’s chairman and chief creative officer for North America, at the Association of National Advertiser’s annual conference in Phoenix. Ms. White, of course, made the final cut at the urging of brand-owner Mars, launching a comeback for the comedic star, as well as the Snickers bar.
During a dual presentation at the ANA, Mr. Lubars and Mars Chocolate North America President Debra Sandler gave a behind-the-scenes look at how the wildly successful campaign came together. The seeds were planted many months before the Super Bowl ad, when Mars decided to launch a global campaign for the brand, which had been relying on a regional approach.
Coca-Cola has no choice but to market well to millennials, Chief Marketing and Commercial Officer Joe Tripodi said in this interview at the Association of National Advertisers Masters of Marketing conference on Friday.
“In our business you have to be constantly recruiting younger people into your franchise,” Mr. Tripodi said. “Otherwise you won’t have a business long term. So when we think about that, we think of constant innovation — innovation that occurs at many levels, not just product but packaging, equipment and of course consumer engagement.”
Finding new ways to engage consumers presents a particular opportunity for Coca-Cola and other companies as well, Mr. Tripodi said.
When thinking about Twitter’s future, almost all the focus is on advertising. After all, 85% of its sales came from ads in the second quarter. But some observers believe Twitter has lots of room to expand its other revenue stream: data.
In the first half of this year, Twitter collected $32.2 million through its data licensing deals with authorized resellers, an increase of 53% from a year earlier. That kind of growth is nothing to scoff at, but it was overshadowed by ad revenue, which more than doubled over the same period to $221.4 million.
Twitter said in its IPO filing that it expects data’s contribution as a percentage of revenue to continue to decline, presumably as ad revenue continues to blossom.
How does Chrysler follow up an all-star commercial slate that has featured Eminen, Oprah and Clint Eastwood? Try Ron Burgundy.
At the Association of National Advertisers meeting in Phoenix today, Olivier Francois, chief marketing officer at Chrysler and Fiat Groups, offered attendees a sneak peek of a new slate of commercials for Dodge Durango. The spots feature Will Ferrell’s “Anchorman” character, Ron Burgundy, or as Mr. Francois jokingly described him, a “timeless authority” on “how to stay classy.” The spots, which featured Mr. Ferrell in character going on about how much gum the glove box can fit and mispronouncing “MPG,” drew chuckles from the audience. Mr. Francois said the ads are part of a blitz that will blanket the web soon.
But Mr. Francois, who was speaking to the audience on his birthday, showed the spots to make a greater point about Chrysler’s marketing philosophy: “Breaking convention is what guides us,” said Mr. Francois, making an analogy to the constellations and stars aligning perfectly. “We won’t make marketing as usual.”
O conceito “You’re Not You When You’re Hungry” (Você não é você quando está com fome), introduzido pela Snickers em 2010, sempre teve uma abordagem bem literal em suas diversas execuções. A mais recente continua levando o slogan ao pé da letra, mas dessa vez com uma ideal referência oitentista.
Tem gente que quando está com fome pode virar um Gremlin. O comercial resolve com uma barra de Snickers, claro, mas tudo poderia ser evitado com o racionamento de comida depois da meia noite.
Criação da CLM BBDO, de Paris, com produção da Wanda Productions e The Glue Society.
Post originalmente publicado no Brainstorm #9
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Envy is perhaps the strongest emotion in the ad business, no more so than at awards shows. Now, one advertising awards show has gone to ludicrous lengths to help its bitter non-winners get a modicum of revenge against the winners.
After its most recent show was over, the Kiev International Advertising Festival built special rooms designed to let the losers physically abuse the winning work through a Web interface. One room featured a TV on the floor and a bunch of live chickens walking around—you could pick the winning spot you hated the most and have it play on the sceen, and watch the chickens crap on it. (Fake chickens with more regular defecations were installed for maximum messiness.) Another room allowed you to pick winning print ads and see them shredded before your eyes.
Childish? Certainly. Satisfying? Possibly. See more of the rooms in the video below.
CREDITS
Client: Kiev International Advertising Festival
Agency: Banda Agency
Creative Director: Pavel Klubnikin
Art Directors: Egor Petrov, Maksim Nazarov
Copywriters: Yaroslav Serdiuk, Anna Kascheeva
Digital Director: Oleg Pashkovsky
Account Director: Anna Olkhovets
Digital Production: ISD
Production: 23/32
Executive Producer: Sasha Chernyavsky
Producer: Taya Holy
Director: Eugeniy Gozheyshiy
Director of Photography: Dmitry Nedrya
Postproduction: Cinnamon VFX
Superviser: Alex Prihodko
Visual Effects Designer: Denis Reva
Editor: Alexander Chorny
Colorist: Artem Stretovych
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JANNE LEHTINEN
Hey all you mind-journeyers out there,
Adbusters #110, the penultimate installment of the Epic Human Journey series, hits newsstands worldwide Monday!
Of this series so far, this one is our staff favourite. With punchy, provocative spreads, riveting visual essays and more grit than we’ve ever delivered on, Adbusters #110 addresses the big questions you’re always chewing on, and dives deeply into the hidden recesses of human history.
We’ve now reached Part 4, Autumn, of this epic story of humanity.
Autumn marks the moment in history where an empire segues toward decline. “God is dead”…was this the moment when we took our turn? Or was it the advertising industry, and the endless false desires that now rule us, which have led to civilizational dénouement? Perhaps the heart of the beast, to which we must drive a stake, is the very logic of the capitalist algorithm itself…
In Adbusters #110 we track the waves of spirit emerging in history – from Jesus, Mohammed and Buddha to Futurism, Hiroshima and onwards into the new paradigm. In our search for the solution to the human dilemma … we found some exciting clues in unsuspected places.
Clues (featured in this issue):
Meanwhile, here at Adbusters HQ we’re working away on issue #111, the final chapter of our Epic Human Journey Series where we take a glimpse into humanity’s winter. It’s going to be unlike anything we’ve ever done before. This will be the most intimate story we have ever told, delivered in the form of a scrapbook reminiscing on a lifetime – from 2007-2047 – a time-capsule from the future, a staggering vision, a warning to future generations, and most importantly, a must-have manual for how to navigate the bewildering times ahead.
If you don’t want to miss the grand finale, head to to adbusters.org to subscribe now and you’ll receive #111 plus every tract we publish in 2014, the Year of the Horse!
For the wild,
From ?all of us here at Adbusters HQ
Read more on Adbusters.org
One thing we learned about Twitter this week: its user base is very international and growing more so by the day.
That’s not an inherent problem; it may indeed be an opportunity as most global ad growth is happening outside the U.S.
But this is a problem: Twitter appears to be reaching full penetration in the U.S. The company says it had 49.2 million U.S. users who signed in at least once a month during the second quarter of 2013, up from roughly 48 million in the first quarter. Monthly users had jumped by 3 million over the previous three-month period, and 5 million before that, so growth appears to be slackening.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
