Hasta La Creative!

RPA has launched a new integrated campaign for Honda highlighting the brand’s summer clearance event and attempting to spread summer cheer, under the face-palm worthy title “Summer Cheerance.”

To be fair, “Summer Cheerance” is at least memorable, however irksome the title may be. The campaign includes broadcast spots, print, digital, radio, “an abundance of smile-inducing videos, memes, GIFs and visual jokes via social media” and special events from August 4th until August 8th to promote the Honda Summer Clearance event. As part of the campaign, Honda will donate $100,000 to the Pediatric Brain Tumor Foundation.

“Summer Cheerance” launched today with an introduction video (featured above), as well as a series of short videos designed to be shared on social media to spread summer cheer. For example, one video shows a pig swatting its tail for six seconds, followed by the message “We hope this video added some cheer to your day” and promotes Honda’s event with the #Cheerance hashtag. Other videos include dancing dolphins, an exhausted puppy and an “Epic Gopher.” Additionally, the brand has teamed up with YouTube star Andrew Hales, who will promote the brand with two videos on his YouTube channel. Stick around for a few examples, along with credits, after the jump. (more…)

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Falha grave do departamento de ‘vai dar m*rda’ da Paramount Pictures. A divulgação australiana do longa-metragem destacou um pôster em que as Tartarugas Ninja aparecem caindo de um arranha-céu nova-iorquino, logo ao lado da informação sobre a data de estreia do filme, que chegará aos cinemas do país no dia 11 de setembro. A associação foi considerada ofensiva por grande parte da audiência, que reclamou nas próprias redes sobre a falta de tato do material promocional do filme.

O mesmo conteúdo havia sido postado também na página do Facebook da Paramount, e ambos foram removidos rapidamente depois de detectada a crise. Em um comunicado de imprensa, um porta-voz se desculpou pela gafe. “Estamos profundamente arrependidos de ter usado aquela arte no material promocional da estreia em 11 de setembro na Austrália. Combinar aquela imagem e aquela data foi um erro. Não tivemos a intenção de ofender e já tomamos providências para que ele não seja usado novamente”, esclareceu.

Cada vez mais, as marcas precisam cuidar para que o seu posicionamento, mesmo que sem a intenção de ofender, não seja mal recebido pelo público. Seria no mínimo insensato, por exemplo, se uma conhecida marca brasileira tivesse um esforço de propaganda exatamente nesse momento, em que circula no noticiário a tragédia do menino que perdeu um braço ao ser mordido por um tigre. Se a modificação da data de estreia na Austrália não é possível, seria importante que a Paramount tivesse cuidado redobrado na promoção do longa-metragem no país.

No Brasil, a estreia de “As Tartarugas Ninja” acontecerá no dia 14 de setembro.

Post originalmente publicado no Brainstorm #9
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John Oliver may be uniquely positioned to take down some of the hype surrounding native advertising, given that his “Last Week Tonight” appears on ad-free HBO, as he notes at the top of this segment that aired last night.

Afforded that freedom, he pulls no punches, taking on media execs like Jonah Peretti, founder-CEO of BuzzFeed, which gets 100% of its revenue from native advertising; Joe Ripp, the Time Inc. CEO who has been pulling down the wall between church and state as his company builds a new native-advertising unit; and Meredith Kopit Levien, exec-VP of advertising at The New York Times, which has also been enthusiastically embracing native advertising.

The whole extended rant is scathing, thought-provoking and very funny — particularly at the end when Oliver, suggesting that turnaround is fair play, injects some hard-news content into a (fake) Diet Coke commercial.

Continue reading at AdAge.com

TBWA/Media Arts Lab has a new spot for Apple’s iPhone 5S entitled “Dreams.”

Set to the made-for-a-television-commercial strum of Jennifer O’Connor’s “When I Grow Up,” the spot celebrates everyday heroes like firemen, doctors, veterinarians, environmental scientists and artists. The choice of music, pacing and editing make the spot feel like a spiritual successor of sorts to the recent “Parenthood” successful spot. Like that ad, “Dreams” shows its subjects using the iPhone 5S in a variety of ways as a tool to do their job better. It’s nothing ground breaking, but it communicates its message well while showing a variety of the smart phone’s capabilities. Coming off the recent spot “Stickers” and the aforementioned “Parenthood,” “Dreams” sees TBWA/Media Arts Lab on something of a creative roll following the announcement in June that Apple would take more ads in-house.

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As I reflect upon my first anniversary as global CEO for AOL Platforms, I’ve gained a unique perspective on the industry after years on the agency side of the business (most recently as global CEO of Razorfish and CEO of Publicis Group’s digital technology division), to now being fully immersed in the technical innovations that are powering the rapidly evolving digital ad and publishing ecosystems. AOL has given me new insight into the many challenges and opportunities that marketers encounter when navigating the complex and crowded world of programmatic buying, data analytics, attribution, mobile, online video and more. Here are a few things I have learned in the last year — both the good and the bad:

1. The “tech tax” is no myth. The words “confusing” and “complex” are used to describe the current ad tech landscape for a reason. A multitude of highly specialized product vendors are all vying for a sliver of the marketing pie. Currently, for every dollar that a brand spends on a digital placement, more than half is siphoned off to a complicated web of trading desks, private exchanges, DSPs (demand-side platforms), SSPs (supply-side platforms), data aggregators, tag management vendors, ad verification vendors, retargeters and more. Having seen the waste inherent in our bloated publishing and advertising ecosystems first-hand, my take is that the industry’s No. 1 objective should be to unify and simplify the technologies that automate the planning, buying, execution, optimization and measurement of cross-screen and cross-format campaigns. The innovation exists. Our job is to harness it, simplify it and deploy it to increase the power and reach of every advertising dollar.

2. Inertia is stifling innovation. Things that worked in traditional media — like “splitting the buy” across broadcast networks and static one-month-ahead planning — don’t make sense in today’s data-driven digital world. Today the wealth of data and technology available make it possible to continually analyze behavior and performance data, empowering brands to zero in on the most relevant audiences and inventory in real-time, rather than hedge their bets. We wholeheartedly agree with WPP CEO Sir Martin Sorrell that data experts have an important role to play in this changing agency landscape: “You need to have programmers, engineers, scientists and mathematicians, and it needs different types of agency people working together.” Marketers and brand executives that don’t evolve from doing things “the way they’ve always been done” will be left behind. Those that adapt their strategies to the digital age will grow and thrive.

Continue reading at AdAge.com