Integrated production company ACNE welcomes award-winning Executive Creative Producer Luis Aguiluz to their Los Angeles studio.
Aguiluz joins ACNE after a three-year run at Deutsch LA, where he quickly ascended from Digital Producer in 2011 to Senior Integrated Producer in 2012, and eventually to Executive Creative Producer in 2013.
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From Adbusters #116: Blueprint for a New World, Part 5: Politico
Child’s Drawing, Australian Human Rights Commission
Cuddly is not a word that you often encounter in political discourse, in the remote form practiced by politicians or in an academic debate.
It is not a sexy word, a buzzword, the kind to incite an uprising. But there he was: cuddly. All I knew was that I didn’t want to let go of him.
It was 2002 and I was seventeen years old. The dry, dusty expanse, with its shades of yellow, brown and grey stretched out before me on a road that extended straight ahead to a vanishing point. It was an Australia I had never experienced before but had inherited as an idea, a mythological place of belonging: the Outback, the interior. An emu ran from the sound of our car, distraught, wild, as if a caricature, along a barbed-wire fence.
At the first roadside petrol station, the hostility toward our presence made us hurry: behind the wheel of the car behind us was a woman in a headscarf. I watched as they tried to take in this exotic apparition, at first with fear then something like disgust at the shape of her plump body, her brown skin and clothes; at the guttural language she yelled at her children; at the sheer number of her children — five!; at the strange-smelling food in its enormous quantity — rice dished out of a saucepan big enough to feed everyone for a week from the boot of the car; at the haphazard way she drove off, revving the engine, “bunny-hopping,” with the children, dancing around inside without their seatbelts on. As soon as she did so, her headscarf came off, her long black hair blowing in the breeze.
The next day, we arrived and were surveying the place before us, how well-designed it seemed. It looked like every other piece of unassuming, unimaginative architecture of efficiency: neither those on the outside could see in, nor those on the inside see out. A Land Rover sped toward us and two men in uniform asked what we were doing there. “Visiting.”
We were at what was then called the Baxter Detention Centre, a jail the government had contracted out to a private firm as part of its mandatory detention of refugees and asylum seekers. As part of a social justice group we were travelling with Azin, a young Afghan woman, and her children to visit her husband. A year earlier, due to public pressure over the imprisoning of children, the government had temporarily released mothers and children — but not men — so that women like Azin were out on their own, with no assistance. In this year since being released, since seeing her husband, she had learnt to drive in order to get back. The Centre was notorious for its violence and secrecy — all press was banned from even the perimeter of the Centre.
My memories of this place are of an endless series of what seemed like psychological and arbitrary games in order to get through and visit people inside: of wire cages, in succession, where you could wait in isolation, for up to half an hour each; of being frisked and stamped with a smiley face in UV ink on your hand as if entering a night-club. The guards ask “how are you today?” as if they’re just cashiers at a supermarket. One day I lose it and break down while waiting in the final cage so that when I emerge I say “I’m waiting to speak to a man who has sewn his own mouth shut. How do you think I feel?” I am not given approval to visit that day.
Outside, we meet with the family again, more rice and tea. The two twins, in matching Kmart outfits, love to run up and down a large, rusting pipe; the daughter helps her mother with translation and food; the second oldest, Akhmed, fidgets nervously on his own. Then there is the youngest. There are so many memories I have of this time and place. They remind me constantly of the urgency for justice. But of all the memories, there is one, so visceral, that comes to me from nowhere. I’m standing by the sea, or in a beautiful patch of forest, lost in quiet contemplation on a plane looking down on the clouds: and there he is, the youngest of the family. I feel it in my whole body, what it felt like to cuddle and hold that youngest child.
He was two or three, still in nappies. He didn’t really speak, yet he should have been able to at his age. When he cried, tears rolled down his face, and he grimaced, but he did not cry with sound. He seemed never to laugh also, and never to fuss. We took turns to hold him, and, transferred from his mother to sister, to one of us, he didn’t ever protest like other children might. In my arms, he didn’t, like other children, wriggle around. He lay still, cradled, attaching to me like a baby possum or a koala. He seemed distant, worrying. He was, it seemed, traumatized.
He was also very cuddly. I have no other word for it. I couldn’t do anything to get through to him, it seemed, I could not win the war against the senseless violence of such a system, but I could hold him and cuddle him. Through all the anger and grief and rallying in the streets, I remember this. It’s this embodied aspect of social movements and social justice that I wish to remind us of. It is what I love about the recent Occupy movement with the sharing of food, the “occupying” of space together, the exchange of skills and ideas, the shaking or holding of hands, of walking and singing together in protest.
It is an effective move by the Australian government to now “process” refugees and asylum seekers fleeing political persecution and economic apartheid “offshore.” With no danger of contamination, no chance for interaction, for touch, Australians meet only with such people through their television screens. It seems to me so primal, this embrace, that I wonder if a war couldn’t be won with one. In that cuddle I remember that all life wants to flourish, all life started in its youth, vulnerable, unknowing, the world before them, with someone, somewhere who held them, and hoped the best for them.
I wonder where he is now, little Fahran. He would be a teenager, if alive — and I hope with all my heart that he is — and I hope he is alright. I wonder if somewhere he has a memory of being held with all the hope and love for him and his life ahead.
Ronny Northrop is now ECD at Y&R California. Northrop, who will report to CCO Mimi Cook in the agency’s San Francisco office, previously spent extended stints as a copywriter at CP+B and creative director at GS&P. Before joining Y&R, he spent time freelancing for 72andSunny, Butler, Shine, Stern & Partners and others. While Northrop’s resume indicates that he joined Y&R in February, AdAge mentioned the change for the first time today.
Hawthorne Direct promoted John Pucci to the position of Chief Marketing & Creative Officer. Pucci, who joined the agency in 2011, has served as SVP/CCO since 2013; in his new role he will oversee all “marketing, publicity and promotional activities.” Prior to joining Hawthorne, Pucci served as ECD at Havas Edge in Hollywood, and his recent agency history includes SVP/ECD stints at Publicis and RAPP. Earlier in his career, he worked as art director at Saatchi & Saatchi, held the GCD position at DDB LA, and served as a partner at TracyLocke.
He has also worked in-house for organizations as varied as Walt Disney World, E! Networks and Mattel.
New Career Opportunities Daily: The best jobs in media.
YouTube censors who greenlight nudity as long as it’s artistic must have spent a fair bit of time on this video from the Musée d’Orsay in Paris—advertising an art show about the influence of the Marquis de Sade on representation of sexuality.
That’s because almost every frame could be age-gated.
It was made by video artists David Freymond and Florent Michel. “In the end, it doesn’t come off as something pornographic or obscene. It’s rather beautiful, very aestheticized, like a painting by Renoir, Courbet, or a Rodin,” Emmanuèle Peyret writes in Libération, per Artnet. “In brief, another artwork amid those already inhabiting the museum.”
Video contains nudity and is NSFW.
Comme une météorite tombée du ciel, cette incroyable cabane cubique au design épuré est un projet réalisé par l’Atelier 8000. Imaginée au milieu des montagnes slovaques, cette maison nommée « Kezmarska Hut » serait un lieu écologique et durable idéal pour des aventuriers tout terrain. À découvrir dans la suite.
Considerada uma das redes sociais favoritas dos jovens, o Snapchat está estreando no ramo das interações patrocinadas, formatos de anúncios dentro da própria ferramenta. O motivo é óbvio: precisam fazer dinheiro.
A Universal Pictures foi a primeira a ter a chance de publicar uma propaganda na plataforma, e escolheu um vídeo teaser do filme “Ouija”, que deve chegar aos cinemas dos EUA nos próximos dias.
O anúncio funcionou como qualquer outra interação de vídeo no Snapchat, exigindo que o usuário decidisse clicar na propaganda, que aparecia entre as mais recentes atualizações dos seus amigos, e que estava claramente marcada como um conteúdo patrocinado, “o que não é nada demais”, esclareceu a empresa em uma postagem em seu blog oficial.
O vídeo-anúncio de 20 segundos da Universal Pictures, contudo, ficava disponível para ser visto quantas vezes o usuário quisesse, até que ele saísse do aplicativo do Snapchat – quando isso ocorresse, a mensagem patrocinada desapareceria da timeline do aplicativo.
O AdWeek ressalta que filmes e produções audiovisuais parecem um produto seguro para anunciar nestes novos formatos – quando o Facebook liberou seus anúncios em vídeo, a estreia também foi um promocional de um filme. Agora é aguardar para ver que outras marcas vão querer atingir os teens usando essa plataforma.
Post originalmente publicado no Brainstorm #9
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Let’s give millennials the CMO chair. We know they think they’re ready for it. And maybe they are.
Maybe the CMO role is the most appropriate role for them. They’ve got the highest branding IQ of any generation. They’ve been acting as their own CSMO (chief self-marketing officer). After all, they’ve been promoting their own brand for years. They don’t have channel strategies, they just are. They don’t need words like “content” or “journey,” because to them, it is just “stuff” people “do”.
All millennials, simply because they are such, are already their own brand. They have social channels and platforms of their own. They’ve already developed their brand identity and positioning. They know their tonal guard rails. They know what’s cool to them, and they have an engaged social community that agrees.
Haberman, an agency in Minneapolis, has created a story designed to appeal to consumers of wellness products.
With the release of Activision’s Call of Duty: Advanced Warfare coming up on November 4th, Ant Farm has released a 60-second gameplay trailer, the last piece in the long advertising onslaught for the game, which kicked off with a reveal trailer starring Kevin Spacey (who voices a character in the game) back in May.
Lines from Spacey’s in-game character hold together the trailer, along with gameplay footage and quotes from advanced reviews of the title, such as Forbes‘ “…transcends the line between game and film…” The spot highlights the changes from previous iterations in the franchise, touting a more important plot and improved multiplayer while putting the game’s improved graphics on display. Fans of the franchise have probably already put in their pre-orders but emphasizing the changes in the franchise could bring some newcomers on board.
“We’ve been partners with Activision on the Call of Duty franchise from its infancy, and over the years we’ve had the fantastic opportunity to see it grow to become the massive pop culture phenomenon it is today,” said Rob Troy, chief creative officer at Ant Farm. “This year, the graphics and the multiplayer aspects of Advanced Warfare took a huge leap forward, so the creative aspects behind this campaign needed to pay homage to that.” (more…)
New Career Opportunities Daily: The best jobs in media.
Voici une série aussi sucrée que colorée élaborée par l’artiste Massimo Gammacurta. Un alphabet nommé « Eat Me » incarné par des lettres dont la singularité et l’originalité sont amplifiées par les imperfections causées par la réalisation. L’artiste nous présente un travail intéressant et haut en couleur, à découvrir dans la suite.
Holiday Inn’s new all-digital campaign, “Journey to Extraordinary,” seeks to tell captivating stories that bring the customer journey into focus. Before you say, “Oh great, another customer testimonial,” consider that customers prefer to hear from one another, and that the brand’s job in “building community” today is all about enabling these interactions. Okay, let’s meet […]
The post Wherever Your Journey To Extraordinary Takes You, Holiday Inn Is There appeared first on AdPulp.
Social media marketers and brand managers alike have the same problem: how can they make their brand’s story stand out in today’s noisy, always-on, social world? Let’s face it, not every ad campaign goes viral and — even more — not every social media post reaches the target audience. But this can change. What has lately been lauded by marketers as an unsolvable problem, actually has a relatively simple solution: employee advocacy.
Social media doesn’t exist in a vacuum, so why are so many social media marketers expected to perform in a vacuum? Rather than limit their social media presence to just a few social media channels, many Fortune 1000 brands are empowering their employees to advocate for them — in their own, original voice — on social media. Brands looking to reach new audiences as well as drive brand loyalty need only look to the people creating, building and selling their products and services.
Employee advocates are some of the best social marketers out there. Employees can help generate brand awareness, new engagement, and new sales. Research from Cisco shows that employees have 10x more followers than corporate social accounts. What’s more, a 12% increase in brand advocacy generates a 2x increase in revenue growth.
How are top brands doing this? By offering employees social media training and an Advocate Marketing platform that enables them to quickly and easily share brand-approved content.
More often than not, getting started means identifying internal business partners and getting leadership involved. Company leaders have the ability to model how employees should interact on social media. Support from leadership is a critical component. When leadership is involved employees are more likely to participate. However, most company executives are more than happy to get involved when they see how various departments across their organization stand to benefit from employee advocacy. From marketing, to sales, to recruiting and corporate communications – employee advocacy has the power to drive results that reach higher than ROI (though it drives that too).
For example, take one Fortune 50 retailer who recently launched an employee advocacy program to thousands of their employees at their annual company meeting. This retailer has seen their program adoption double week over week. Not to mention, their social media engagement increased 10X since the program launched.
This Fortune 50 retailer’s success was due to their employees’ passion and brand pride, as well as the strategic way that they rolled their program out. They first launched with a beta group of about 300 socially savvy marketers and other key stakeholders who helped optimize and improve the program before rolling out to the entire company. After that, the retailer hosted an in-person training and a webinar training to get employees up to speed on the platform and social media basics.
But they didn’t stop there, their program’s top initiative is to ensure on-going engagement. One way that the retailer is motivating employee engagement is making sure the program is always populated with brand content that is new and fresh. Another best practice is provide a variety of content so that employees always have something interesting and relevant to share.
Thanking and recognizing employees is another critical thing in order to keep employees engaged. The Fortune 50 retailer highlights employees in weekly program updates and provides swag such as t-shirts or gift cards to employees to recognize them for being active advocates. They also provide employees with first access to exclusive content allowing employees to break the news, even before the press, which is a great way to encourage employees to share.
Social media marketers and brand managers everywhere can see better, stronger results with an employee advocacy program. With the company-wide benefits Fortune 1000 companies are seeing — ranging from driving brand awareness to increasing sales leads, improving recruiting goal and more — it’s all the more obvious that the time to get started is now.
This guest article was written by Dave Hawley, VP of Marketing for SocialChorus.
New York-based Partners & Spade handled the creative for Whole Foods’ first-ever national brand campaign, entitled “Values Matter.”
The campaign focuses on the sustainability and fair trade practices of the grocery chain, summing up the brand’s philosophy with “To us, value is inseparable from values.” That line is likely also meant to defend the brand from its image as being unaffordable (as exemplified by the oft-repeated reference to the chain as “Whole Paycheck”), explaining to viewers that Whole Foods views “value” in the big picture, while implying a cheapness to the “value” offered by most grocery stores, who don’t place the same emphasis on quality and sustainability. The ad ends with the tagline, “America’s Healthiest Grocery Store,” a title the chain earned in Health magazine.
Other ads in the campaign — such as “Beef” and “Produce” — have a more specific focus. Broadcast spots will air during prime time shows such as Modern Family, Scandal and The Voice, The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live, and Saturday Night Live, and during World Series and NFL games. Media buying and planning was handle by Austin-based GSD&M.
“Not everyone knows what makes Whole Foods Market different from other grocers, or the fact that no other retailer has standards as demanding or as transparent as ours,” said Jeannine D’Addario, Whole Foods Market’s new global vice president of communications. This campaign will distinguish what makes our brand special, our food different and our quality superior.” (more…)
New Career Opportunities Daily: The best jobs in media.
M&C Saatchi brings back Tom Brady, this time along with his dog, for its third installment of its fall global marketing campaign for UGG Australia.
The spot continues the theme of the Patriots quarterback enjoying his time off the field. Entitled “Down Time,” the 60-second spot opens with Brady walking in slow motion (filmed in black and white), set to serious music. “This is what it all comes down to; this is what all the hard work is for,” Brady says, “The long days, the extra hours, all for moments like these.” Brady then plays with his dog, Lua, while wearing the “Munro” boot from UGG for Men’s Fall collection.
Those who were critical of UGG’s previous Brady-starring ads will find plenty to complain of here with the self-seriousness of “Down Time.” Meanwhile, the Patriots QB can still do no wrong in the eyes of his most ardent admirers. Whether or not he can convince Boston sports bros to lace up UGG boots, though, is another question.
New Career Opportunities Daily: The best jobs in media.
As anyone who’s posted something ostensibly insightful on Reddit knows, watching your comment get downvoted into a negative abyss can leave you feeling stung and downright pissed off.
That’s exactly the kind of experience Facebook wanted to avoid when it actively decided not to create a “Dislike” button alongside the iconic thumbs-up Like button that debuted in early 2009.
In an interview with the creator of the Like button, former Facebook CTO Bret Taylor (who these days runs mobile app Quip), TechRadar reports that a Dislike button was often discussed but consistently scrapped because “the negativity of that button has a lot of unfortunate consequences.”
While the Like button was born largely to unclutter feeds riddled with positive one-word comments like “wow” and “cool,” Taylor says, Facebook felt that it was actually better to corner the more negative users into leaving a comment explaining their opinions.
“I have the feeling that if there were to be a ‘Dislike’ button is that you would end up with these really negative social aspects to it,” Taylor says. “If you want to dislike something, you should probably write a comment, because there’s probably a word for what you want to say.”
L’artiste Mark Culmer a développé toute une série de timbres représentant les portraits des plus grands rappeurs américains, annotés de leurs initiales. J Dilla, Notorious BIG ou encore 2pac sont à découvrir à travers des timbres monochromatiques disponibles à la vente sur le site Madina. Plus de détails dans la galerie.
“Now you can trap an enemy and send him back to fight for you” Ho-KAY, look this is what I gather from this ad. Skylander makes plastic widgets that somehow interact with my games console.
Superar um relacionamento que terminou parece muito mais difícil hoje em dia. As redes sociais, os aplicativos que você usa e até o corretor ortográfico do seu celular insistem em te lembrar de situações a dois, e cada lembrança parece uma punhalada.
A desenvolvedora web e designer de interações Sarah Hallacher sentiu isso na própria pele, e soube traduzir de um jeito incrível o quão doloroso pode ser esse processo de perceber que duas vidas que estiveram tão próximas estão aos poucos se distanciando, até digitalmente.
A série “The User Experience Of a Heartbreak” destaca em uma série de GIFs animados as tristes situações que acontecem quando você está digitando no iPhone, ou usando o Facebook, LinkedIn, Twitter e Instagram.
No site onde Sarah reuniu suas criações, a capa traz uma réplica do campo de busca do Google, em que qualquer coisa que você digitar para pesquisar vai sugerir a mesma coisa: você quis dizer que está inconsolável?
“Se você não está falando com uma pessoa, você não sabe por que elas estão tomando essas atitudes online. A versão online das ações delas é muito seca e fria, sem contexto. Eu queria destacar isso”, explica Sarah, que conclui uma dura verdade: “O computador é apenas um computador, ele não tem compaixão por você”.
Post originalmente publicado no Brainstorm #9
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If you’re the type of jet-setter who flies a seaplane to a Scottish estate so you can put on a tuxedo and have a drink with a handful of your posh friends, David Beckham would like you to buy some of his new whisky.
The recently retired soccer icon stars in this glitzy launch ad for Haig Club, a single grain scotch that Beckham produced with liquor giant Diageo and American Idol creator Simon Fuller. Filmmaker Guy Ritchie, a friend of Beckham’s—who directed him in this H&M ad last year—directed this one, too (and makes a cameo as the fisherman under the bridge).
It’s worth watching mostly for the gorgeous scenery (shot in the Scottish Highlands, at locations like Glen Affric). The people are pretty, too. Alt-J’s “Left-Hand Free” serves as the soundtrack. The storyline is thin, leaving you free to focus on the lush trappings—not unlike a fashion or perfume ad. That’s all the more appropriate, given that the bottle looks like it should hold something you splash on your person, not pour down your gullet.
Regardless, you should also be ready to drink it at the Great Wall, Easter Island, the Egyptian pyramids and Antarctica, among other places. In other words, get your travel budget in order—and don’t forget to bring your point-and-shoot camera, because everyone still uses those.
It can be tough to get your work featured in the advertising magazine Lürzer’s Archive. But René Schultz and Casper Christensen found a way around that.
The Danish art directors, who were looking for a job, went ahead and created their own physical replica of the creative magazine, filled it with their own work, and sent it to agencies. See how they did it—and whether it worked—in the video below.
As you might have guessed, the whole thing came full circle when the prank was written up in Lürzer’s Archive itself. “Of course I was delighted with this gem,” writes Lürzer’s editor Michael Weinzettl. “They copied the magazine to perfection.”
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