Ogilvy & Mather has apologised for an ad, made by its Indian offices for a mattress brand, that used illustrations of Malala Yousafzai, the Pakistani schoolgirl who was shot by the Taliban.
(TrendHunter.com) The Whitehouse Park building in Singapore is separated into three boxed sections, each of which has a specific function. This was done after the architects were faced with the challenge of building…
This morning Christopher Brady announced his departure from Mullen after eight years in what has nearly become a traditional way: with a public Facebook post.
Brady has yet to announce where he’s headed, but for context, he spent more than eight years at the agency as group creative director. Before joining Mullen, he worked as a senior art director for Apple in Cupertino, CA for two years (one of which he spent as an employee of Wirestone LLC).
Updates as we receive them.
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A couple years ago I went to a party in Austin, Texas, during SXSW that New York Times media columnist David Carr held in his hotel room. It was low-key and very informal — Carr had filled his bathtub with ice and cans of cheap beer for his guests — and the mood among the tech-meets-media crowd (e.g., executives from Twitter and Kickstarter, reporters and editors from Wired and Mother Jones) was Austin-style chill.
New York Times Executive Editor Jill Abramson came to the party, and what struck me the most about her is that she didn’t mix. Shortly after her arrival, she planted herself on a banquette by a window where she was bracketed by two women — fellow Timesfolk, someone told me later — and the three talked only amongst themselves for the 90 minutes or so I was there.
When I had to leave for another event, I realized my backpack was trapped on the banquette behind the threesome, so I affected the universal we’re-at-a-party-so-let’s-mingle body language of sort of lingering/crouching at the edge of their group, beer in hand, without actually barging in. But they remained in a tight, three-way conversation, and though one of Abramson’s protectors glanced at me a couple of times (giving me an icy “Who the fuck are you?” look), their bubble felt so hermetically sealed that I found it difficult to even interrupt with “Excuse me, could I just grab my backpack behind you?” (Although after a few more awkward minutes, I did just that, because I really had to go.) Abramson seemed isolated by design.
When you wake up looking like Jim Morrison and Brian Wilson's weird soccer hooligan man-baby, you've slept too long. You might want to get up, dust off the cobwebs and maybe get a friggin' haircut, ya big hippie.
This delightfully absurd spot from French automaker Citröen and agency Les Gaulois opens with a groggy, unkempt man waking up from what appears to be a pretty satisfying Rip Van Winkle-ish snooze. He wakes up and shuffles to the window, and then we see him assemble the fragments of the years he slept through.
Take a look below to see what happens next.
Via Adeevee.
CREDITS
Advertising Agency: Les Gaulois, Puteaux, France
Creative Directors: Gilbert Scher, Marco Venturelli, Luca Cinquepalmi
Art Director: Marie Donnedieu
Copywriter: Ouriel Ferencz
Director: Eric Lynne
Enquanto busca novas oportunidades de trabalho, o editor Jim Casey encontrou uma maneira interessante de divulgar suas habilidades, utilizando o YouTube. É lá, em seu canal, que ele tem inserido vídeos interessantes, com edições bem legais sobre diversos temas ligados ao entretenimento. Um dos mais recentes destaca a evolução dos efeitos visuais no cinema, desde 1878 até os dias de hoje.
O Mágico de Oz, Fantasia, Mary Poppins, O Exorcista, Super-Homem, ET, Titanic, O Planeta dos Macacos… estes e muitos outros mais estão lá, em pouco mais de 3 minutos.
Post originalmente publicado no Brainstorm #9
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On Sunday’s episode of Mad Men, thanks to the office’s new IBM 360, creative Stan Ginsberg lost his mind, as well as a nipple. Don Draper also reunited with his niece Stephanie and crashed a big meeting between SC+P and potential tobacco client Phillip Morris. Meanwhile, the former Mrs. Draper got belittled by hubby Henry — “Leave the thinking to me,” he said. Even though, as Betty professed, “I’m not stupid. I speak Itallian.”
But what was the real news from the ad world at the time? Find out in this edition of Throwback Thursday Ad Age Headlines, pulled from June, 1969.
More on the show and the era here.
L’illustrateur Mitch Blunt basé en Allemagne s’est spécialisé dans la création de visuels très parlants, jouant avec talent sur les symboles et les choix graphiques pour des créations éditoriales, afin de compléter des articles pour The Guardian, The Times ou encore Esquire. Une sélection variée de ses œuvres est à découvrir.
(TrendHunter.com) ‘Nami’ is a photo-series by Syoin Kajii, a Japanese photographer and Buddhist monk. The photos simply capture the ocean waves off Sado Island in Japan, but are intended to provoke more…
I had to watch this PSA for Gun Free South Africa twice to really get it. It’s very subtle. In an effort to turn the country into a gun-free zone or at least mitigate the fact that over 50 firearms are stolen or lost each day and that 18 people are shot everyday, the spot delivers the message, “If you’re stolen gun was there, so were you. Hand in your gun.
Created by Y&R, the spot uses a very subtle bit or choreography to put a second person on the scene. Of the approach, Y&R Group Creative Director Bibi Lotter said,”I really loved the subtlety of Tony’s (Frieze Films directorTony Baggott) treatment. He’s crafted a thoughtful piece that doesn’t accuse anyone but makes people think about what it means to own a gun.”
Y&R had originally conceptualized the spot as a first-person shooter, but Tony rather suggested filming the PSA in a single, continuous take and using choreography to introduce the second person. It works quite well. But you have to notice the subtlety.
Sen. John McCain took aim at Google and Yahoo this morning during a Senate hearing on malicious online advertising, stating the companies “have a responsibility to help protect consumers from the potential harmful effects of the advertisements they deliver.” The Arizona Republican also indicated the responses of the online ad giants during the hearing will compel him to push harder for legislation protecting consumers against malicious ads.
A Senate report published in conjunction with this morning’s Permanent Subcommittee on Investigations hearing suggested ad industry self-regulatory efforts to prevent ads that disseminate viruses and enable cyber attacks are insufficient.
“The consumer is the one party involved in online advertising who is both simultaneously least capable of taking security precautions and forced to bear the vast majority of the cost when security fails. For the future such a model is untenable,” said Mr. McCain.
Mcgarrybowen has picked up the advertising account for BSkyB’s gambling service, Sky Bet.
Adweek Global Agency of the Year Grey has announced it is re-entering South Africa with immediate effect, with the acquisition of a majority stake in The Volcano Group, one of South Africa’s fastest growing independent agencies. The Volcano Group will rebrand as Grey Africa as a result of the acquisition and will focus on developing a strong local presence for Grey in South Africa as well as leading Grey’s expansion in key African markets.
Volcano’s group managing director, Paul Jackson, said he was proud to be associated with Grey, adding, “The decision to take on the exciting opportunity of re-establishing Grey in South Africa and across the continent is one that is met with great enthusiasm by both parties, and we look forward to being an integral part of the continued global success of Grey.”
David Patton, President and CEO of Grey EMEA was equally excited about the acquisition, saying, “The most important outcome of this exciting partnership is the acquisition of talent and expertise that will re-ignite our efforts in establishing a dynamic South African presence for Grey and will also allow us to truly focus on serving international clients across the African continent.”
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| THE ORIGINAL? Philips Milk – 2011 « Highly Effective Laxative » Source : Adsoftheworld Agency : Ogilvy (Venezuela) |
LESS ORIGINAL Hepar Mineral Water – 2014 « The joy of a good transit » (La joie d’un bon transit) Source : YouTube Agency : Marcel, Paris (France) |
Coca-Cola has teamed up with OPI on a collection of nail polish inspired by its beverages. The collection, just the latest licensing deal for the brand, was promoted with a manicure event in midtown Manhattan this week.
The beverage giant’s branded products generate more than $1 billion in retail sales annually. And since 2009, Coca-Cola has more than doubled both its licensing revenue and profit. “It’s a very profitable business for us,” said Kate Dwyer, Coca-Cola’s group director worldwide licensing.
Ask someone to imagine the corporate ‘literature’ handed out to staff for the merger of two technology groups and they would be forgiven for picturing a pamphlet using dull, jargon-ridden copy accompanied with stock-library imagery. But Microsoft’s acquisition of Nokia has resulted in something far from conventional.
Chaque année, 3,4 millions de personnes meurent à cause des maladies contenues dans de l’eau contaminée. Avec cette initiative Water is Life, chaque livre imprimé utilise un filtre spécial qui permet d’éradiquer la quasi-totalité des bactéries dangereuses présentes, et permet ainsi d’obtenir de l’eau potable.
Tão rápido quanto ele surgiu, ele desapareceu. O Popcorn Time, apelidado por muita gente de ‘Netflix Pirata’, teve vida curtinha, mas deixou no ar a vontade de fazer algo melhor do que as grandes corporações têm feito, e tudo de graça e aberto a quem se interesse.
Era apenas uma questão de tempo.
O Popcorn Time então ressurgiu das cinzas, e dessa vez ainda mais forte. Além de filmes, agora o serviço também ajuda a acompanhar programas de TV e permite acesso a partir de dispositivos móveis com Android. Um sistema pirata com funcionamento tão fácil não poderia ser aceito pelo Google, portanto não vai ser na Google Play que você vai encontrar a versão móvel do Popcorn Time – o programa está disponível no GitHub e no site oficial.
É interessante notar que o aplicativo para desktop tem uma equipe de desenvolvimento separada daquela que fez o app para Android. São profissionais diferentes, mas com um objetivo comum: permitir o acesso fácil e agradável à conteúdos disponibilizados (ilegalmente) na rede.
Como se essa facilidade e a velocidade com que ela foi desenvolvida não fossem surpreendentes o suficiente, ainda tem um filminho que conta a história ‘heroica’ de um serviço revolucionário, estrelado pelo mascote do serviço, o Pochoclín.
Discussões sobre propriedade intelectual à parte, iniciativas voluntárias e bem coordenadas como essa me fazem pensar que com a motivação certa, bons profissionais nem precisam de grandes indústrias (e gerências, e chefias) para incentivá-los a concluir projetos com rapidez e eficiência.
Post originalmente publicado no Brainstorm #9
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Online
INDIO
The Mexican beer Indio has been the beer of the youths since 1893. So to celebrate its 120th anniversary they launched a contest in search of 120 labels for its bottle, each one representing one of the many subcultures in Mexico that drunk Indio through these years. More than a packaging, the chosen labels became art in many different media around Mexico. And the Mexicans themselves became coolhunters to all symbols of the Mexican diversity, being able to upload photos they think represent urban tribes to Indio’s webpage and win prizes.
The campaign was a huge success in Mexico. Getting, for example, more than 3,000,000 views on the released short documentaries about the different urban tribes in Mexico.
Advertising Agency:Doubleyou, Mexico City, Mexico
General Creative Director:Luis Gaitán
General Manager:Miguel Daura
Copywriter:Jaume Gubianes, Mariano Alanís
Art Director:Rodolfo Gerrero
Designer:Adriana González, Sergio Monterrubio
Account Executive:Ana Oseguera
Project Manager:Raúl Cruz, Daniel del Amor, Jose Luis Garcia
As we mentioned in Stir yesterday morning, Kraft has decided to drop the “steak” from A.1.’s title, now calling it A.1. Original Sauce. Now we have an online spot from CP+B to go along with the name change, explaining the nature of A.1.’s evolving relationship with steak.
In CP+B’s “New Friend Requests,” the Boulder-based agency imagines A.1. rethinking its commitment to steak via Facebook. We see posts of the two together, one of which contains the line “It’s just you and me forever.” But then A.1. gets new friend requests, first from pork, then from myriad other foods. This leads to the sauce changing its relationship status with steak to “It’s complicated,” citing a need to “see other foods.” Initially steak doesn’t take too kindly to this, but eventually steak and A.1. reconcile, with the spot ending with the tagline, “For almost everything. Almost.” The idea is about equal parts clever and goofy, but CP+B mostly make it work, although the spot could have benefited from a shortened run time (it clocks in at 2 minutes). Both the name change and the “For almost everything. Almost.” campaign stem from insights into diehard A1 users, who use the sauce on everything from chicken, pork, and fish to vegetables.
The “For almost everything. Almost.” campaign will also include TV spots, which debut Monday, the first from the brand in five years, in addition to digital, social, radio, out of home and in-store activations. Stick around for credits after the jump. continued…
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