Toronto Crime Stoppers: Cookin' with Molly

Molly is the street name for ecstasy. While some people believe Molly is relatively harmless, it often is cut with other harmful drugs – drugs most people have no interest in taking. In short, Molly is not the drug they think it is. After the tragic loss of two youth that was linked to party drugs at the VELD Music Festival this past summer and recent seizures of ecstasy pills containing methamphetamine, Toronto Crime Stoppers felt compelled to raise awareness about this issue to help make our communities safer. Toronto Crime Stoppers launched a new campaign “Cookin’ with Molly” that provokes people to educate themselves and re-think how they view the dangers around Molly.

Advertising Agency: DDB Canada, Toronto, Canada
Chief Creative Officer: Cosmo Campbell
Executive Creative Director: Paul Wallace
Copywriter: Allan Topol
Art Director: Craig Ferguson
Agency Producers: Julia Morris, Lorrie Zwer
Account Director: Carly Sutherland
Social Media Strategy: James Ly
Media Company: OMD
Production Company: Partners Film
Executive Producer: Gigi Realini
Director: Michael Downing
Director of Photography: Andre Pienaar
Line Producer: Erik Wilson
Editorial Company: Rooster Post Production
Visual Effects: Fort York VFX
Editor: Jeff Poremba
Assistant Editor: Brett Rostrup
Photographer: Jake Bundock
Online Editor: Andrew Rolfe / Fort York
Colourist: Cem Ozkilicci / Alter Ego
Audio House: Pirate Radio
Executive Producer: Joanne Uyeyama
Producer: Chris Tait
Engineer: Ian Boddy
Music: Paul Wallace
Casting Agency: Jigsaw Casting
Talent: Jason Jazrawy
VFX/Animation Co: Fort York VFX

Bob's: Polar bear

Let your hunger decide. Your favorite sandwich now in three sizes.

Advertising Agency: Miami Ad School, Rio de Janeiro, Brazil
Creative Director: Marcelo Lobo
Copywriters: Eduardo Castello Branco, Caio Junquilho
Illustrator: Fabio Mota

Bob's: Lion

Let your hunger decide. Your favorite sandwich now in three sizes.

Advertising Agency: Miami Ad School, Rio de Janeiro, Brazil
Creative Director: Marcelo Lobo
Copywriters: Eduardo Castello Branco, Caio Junquilho
Illustrator: Fabio Mota

It's Kiss a Ginger Day, So Jimmy John's Is Now Flirting With Wendy's

Of all of the holidays that are made up, National Cheese Pizza Day (Sept. 5) remains one of my favorites. Today just so happens to be National Kiss a Ginger Day—meaning, you should kiss a person with red hair, not the spice in your cupboard.

Well, sandwich chain Jimmy John’s took the opportunity to tweet a fellow fast-food restaurant and famous ginger, Wendy’s. The latter’s response was pretty fun, too, and fans are going wild for it.

A+ for use of emoji and keeping things light and fun.

Now, as you can see below, it could be Chester Cheetah’s turn to make his move.



Arnold Hires Y&R's Jim Elliott As Global Chief Creative


Havas’ Arnold Worldwide has named Jim Elliott to the newly created post of global chief creative officer.

The appointment marks Arnold Global President Pam Hamlin’s most recent addition to the agency’s leadership team — she brought on New York President Peter Grossman last July.

“The creation of this role is a really big part of the next part of plans here at Arnold — building our brand here in the U.S. and beyond,” said Ms. Hamlin. ” We really felt like there was a need for someone to be a really close partner of mine to spread the message of Arnold across our offices.”

Continue reading at AdAge.com

State Farm Agents Magically Disappear In Weekend's Newest Spots


Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, a company that catalogs, tags and measures activity around TV ads in real time. The New Releases here ran on TV for the first time over the weekend. The Most Engaging ads are showing sustained social heat, ranked by SpotShare scores reflecting the percent of digital activity associated with each one over the past week. See the methodology here.

Among the new releases, State Farm magically plops its “good neighbor” agents into the field. AT&T reminds viewers to really appreciate — really appreciate — its service. And H&R Block plays the repetition card too, a sing-songy motto dampening the unpleasant arrival of tax season.

As always, you can find out more about the best commercials on TV at Ad Age’s Creativity.

Continue reading at AdAge.com

Obama Wants Firms to Notify of Data Breach Within 30 Days


President Barack Obama wants companies to notify consumers within 30-days of a personal data breach. Despite a slew of pressing issues facing the administration and a potentially unsympathetic Republican-led congress, the White House today unveiled a handful of legislative proposals aimed at safeguarding consumer privacy, continuing along a path established by its privacy and big data report published in May.

The administration’s Personal Data Notification and Protection Act is being pitched in part as beneficial to companies handling consumer data, since it provides a set of rules for data breaches that applies on a national level.

“This proposal clarifies and strengthens the obligations companies have to notify customers when their personal information has been exposed, including establishing a 30-day notification requirement from the discovery of a breach, while providing companies with the certainty of a single, national standard,” noted a White House press release.

Continue reading at AdAge.com

Nearly a Year Into HLN's Social-First Revamp, Network Set To Unveil Biggest Changes Yet


Nearly a year after HLN announced its plans to transform the cable news channel into a social-first network from a roost primarily for Nancy Grace and sensational court coverage, it’s revealing the next phase of its brand refresh.

HLN, a sibling of CNN, will introduce the daytime show “The Daily Share” on Tuesday, the company said, along with an updated logo, set and on-air graphics, in its effort to attract more millennials and become the TV home for the social media generation.

T-Mobile, a first-time advertiser on HLN, has signed on to be a presenting sponsor of the show.

Continue reading at AdAge.com

Spotify Says Its Subscriber List Has Grown to 15 Million

The service, which is available in both paid and free versions, announced its latest milestone just eight months after it said it had reached 10 million.



Digitas LBi Wraps Up ‘An Amazing Year’ for Delta

Digitas LBi thanked passengers on behalf of Delta for “An Amazing Year” in a spot which debuted late last month.

“165 million people,” the spot begins with voiceover delivered from Donald Sutherland, “that’s how many of you chose to fly with us this year. That’s how many of you we want to thank.” Delta crew then goes on to craft paper airplanes out of boarding passes, which in turn create a larger model of an airplane, completed by a “backdrop of airy light.” It’s a visually interesting homage to passengers, and Sutherland’s instantly recognizable voice is voiceover gold, as usual, adding to the warm tone of the spot.

“Our goal was to shoot an elegant, tasteful and restrained visual narrative while creating a sophisticated art installation — something that might actually belong in a museum setting,” said director Sam Ciaramitaro. “Handheld, close-up shots that focus on the sincere and honest performances of the real-life Delta employees, combined with the strength of Donald Sutherland’s narration resulted in a very warm piece.” (more…)

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Leslie Sims Named CCO of Y&R New York

Leslie SimsY&R followed up on last week’s changes in its Chicago team by adding a new name to the top of its Manhattan-based creative department: Leslie Sims will be CCO at Y&R New York beginning next month.

Sims joins Y&R from the McCann organization, where she spent more than 15 years.

This marks the latest executive move for the Young & Rubicam organization, which promoted former EVP/Global Creative Director Jim Radosevic to president of Y&R New York and named General Manager Sean Howard as leader of its North American operations back in May. Last week brought news that Chicago CCO Bill Cimino would be leaving the agency and that CDs  Jeremy Smallwood and Pam Mufson would share the ECD role moving forward. That move also saw the promotion of Global Talent Coordinator Alexis Gianoulis; she replaces outgoing Director of Creative Talent Michele Daly, who is now with Saatchi & Saatchi New York.

The agency made recent changes outside its creative department as well, hiring media planner Dick de Lange — who previously ran Nike at R/GA — in September.

(more…)

New Career Opportunities Daily: The best jobs in media.

United Airlines: Giraffe

Legroom friendly. That’s Economy Plus.

Advertising Agency: mcgarrybowen, New York, USA
Chief Creative Officer: Gordon Bowen
Executive Creative Director: Haydn Morris
Creative Directors: David DiRienz, Erik Izo
Art Director: David DiRienz
Copywriter: Erik Izo
Photography: Jim Hughes
Design: Rachel Hickey
Retoucher: Peter Ross
Print Production: Donaly Shaw
Art Buyer: Kayte Geldzahler
Account Supervisor: Ida Rezvani
Account Manager: Jamie Ross
Published: December 2014

“Whiplash”: Uma bem-sucedida busca pela catarse

Whiplash

[AVISO: Contém spoilers menores]

“Whiplash”, a história de um garoto obcecado por se tornar um grande baterista, é arquitetado sobre uma base bastante sólida: a construção do próprio clímax. Embora haja momentos em que pareça preferir se atrasar a se adiantar (em termos de ritmo e velocidade, para aqui utilizar a terminologia típica de seu universo), todo o filme se dedica à construção do êxtase final e obtém sucesso nessa empreitada.

A busca incessante por esse arco crescente é visível desde a sequência inicial, que segue o som da bateria do protagonista por cima da tela preta. Naquele momento, a câmera parte da observação distante de Andrew (Milles Teller) cercado por seu instrumento musical em direção ao garoto enquanto a canção se intensifica, para se acomodar já próxima dele, centrada em sua expressão. A sugestão é de que até mesmo a ideia de movimento do longa incorpore essa extenuante crescente (da trama e de suas faixas individuais), trazendo sua reação, seja ela positiva ou negativa, a um só tempo como causa e consequência desse norteamento pelo gran finale.

Embora haja momentos em que pareça preferir se atrasar a se adiantar, todo o filme se dedica à construção do êxtase final e obtém sucesso nessa empreitada

É a partir desse projeto de catarse que a narrativa permite que se construa um par de personagens tão interessante. O baterista é arrogante, despreza outros interesses, amizades e seu relacionamento com Nicole (Melissa Benoist) a favor de uma possibilidade de carreira, ciente de ter dado apenas seu primeiro passo ao entrar para a banda do Conservatório Schaffer, mas obstinado pela perfeição no que gosta de fazer.

O regente e professor Terence Fletcher (J.K. Simmons, vencedor do Globo de Ouro 2015 pelo papel), com quem o aluno entra em constante conflito por sua postura militaresca, que seguidas vezes remete com clareza a figuras como o Sargento Hartman de “Nascido para Matar”, possui distintos desvios de caráter, da misoginia à homofobia. Ele, porém, parece ser outra face da mesma moeda, fruto de uma fixação similar pelo sucesso, que aqui é mais não-fracasso do que qualquer outra coisa – basta reparar como se refere à frustração do pai de Andrew, que desejava ser escritor mas se tornou apenas um professor de Ensino Médio

O diretor Damien Chazelle

O diretor Damien Chazelle

Whiplash

Submerso desde o primeiro instante nessa descarga emocional bastante trágica e um tanto próxima de um discurso aberto de seus personagens contra a resignação (afinal, “Não há duas palavras na língua inglesa mais prejudiciais do que ‘bom trabalho’), o filme constrói seus personagens como abusivos, conscientemente ignorantes de qualquer limite moral, ético e talvez até físico – não é exagero afirmar que “Whiplash” é repleto de sangue, suor e lágrimas.

Até mesmo os momentos em que provoca uma certa empatia pela dupla são absolutamente cínicos, articulados em direção ao êxtase, prestes a serem subvertidos pela velha ferocidade. São sinais disso tanto os breves sorrisos de Andrew quando acerta as notas, imediatamente substituídos pela decepção com os seguidos ataques de seu professor, e ainda a sequência em que Fletcher se emociona pela morte de um ex-aluno para a seguir humilhar os atuais.

A violência que permeia o longa pode também ser percebida pela forma como o protagonista é filmado ao sair de seu mais cansativo ensaio: em câmera lenta, entre luz e sombra, cambaleante, tal qual um pugilista que venceu um embate por pontos após mais de uma dezena de rounds.

Ao se fixar tanto na estruturação do próprio clímax, no entanto, o filme revela fraquezas pontuais. O diretor Damien Chazalle, em seu segundo longa, mostra competência na condução da trama, mas adota soluções fáceis e esquemáticas ao longo do percurso. Há alguma infantilidade, um deslumbramento, na forma como o filme se prendem às figuras do ídolo, do mestre e do prodígio, tendo como possíveis sintomas inclusive a maneira como as trabalha visualmente.

Não é exagero afirmar que “Whiplash” é repleto de sangue, suor e lágrimas

A presença errante da figura paterna (marcada pelo embate na mesa de jantar, arena da incompreensão da família pela paixão do rapaz) e o processo de aprendizado pelo qual Andrew passa (sentado no chão de pernas cruzadas ouvindo os grandes ícones da bateria em um pequeno aparelho de som) possuem utilidade como catalisadores da trama, mas carregam um ar de inocência que contrasta com a aparente maturidade dos pontos fortes do trabalho. Nesse sentido, muito embora seja composto de sequências memoráveis, o filme, em sua preocupação excessiva com o todo, deixa à mostra algumas (poucas) partes que, destacadas, se mostram pálidas.

O mesmo pode ser dito sobre o modo como ele é montado: os cortes são em sua maioria óbvios, seguindo apenas as deixas sonoras, sem que a transição visual produza significado ou demonstre maior apreço estético. Há exceções, evidentemente, para as duas questões: quando se vale do silêncio e nos trechos em que o som é acompanhado por ações não musicais.

Aliada à composição meticulosa do último segmento, a energia do jazz que ocupa os minutos finais de projeção é assustadora e capaz de produzir efeitos catárticos

Exemplos interessantíssimos são o ponto em que a faixa de áudio apresentada por Fletcher à banda acaba, deixando-o completamente exposto, e aquele em que a mão do garoto sangra e o corte nos leva à tosse de Nicole, talvez um indício precoce de que a dedicação dele causará incômodo nela.

Ressalvas à parte, é fascinante que “Whiplash” saiba construir seu terceiro ato com tanta habilidade. Se por um instante parece fraquejar, curiosamente pelo excesso de intensidade com que se estrutura, o filme logo se recolhe e abaixa o tom para retomar o volume na sequência derradeira, não apenas muitíssimo bem filmada, mas também extremamente impactante.

Aliada à composição meticulosa daquele último segmento, a energia do jazz que ocupa os minutos finais de projeção é, no melhor sentido possível, assustadora capaz de produzir efeitos catárticos. Se era essa a intenção de Chazalle desde o princípio – como, dadas todas as evidências, parece ter sido -, é difícil não reconhecer seu imenso sucesso.

Brainstorm9Post originalmente publicado no Brainstorm #9
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Subterranean London Photography

« Subterranean Londres: Cracking the Capital » est un nouveau livre de Bradley L. Garrett documentant la photographie de 12 explorateurs anonymes nommés « place hackers ». En effet, tous les lieux photographiés l’ont été sans autorisation, et les artistes nous délivrent ainsi un souterrain londonien unique, particulièrement large et diversifiée.

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Y&R New York Taps New Chief Creative


WPP’s Y&R New York has named Leslie Sims chief creative officer, succeeding Jim Elliott who is departing the agency after a three-year tenure.

The appointment marks New York President Jim Radosevic’s most recent leadership change since assuming his role last May. In September, Dick de Lange moved to the shop from R/GA to be chief strategy officer.

Ms. Sims joins Y&R from McCann Erickson, where she had been an exec creative director working on brands including USPS, General Mills’ Nature Valley, Avis, Staples, Nestle Waters, Weight Watchers and MasterCard. She will report to Global Chief Creative Officer Tony Granger.

Continue reading at AdAge.com

The 10th edition of GAMERZ. From dancing trash bag to dichotomic perception

48k

The 10th edition of the festival celebrated the death of passive leisure in the hands of games and art as well as the transformation of the compliant consumer into a creative user and abuser of technology. The exhibitions across town also investigated how the digital environment impacts and disrupts people’s development at conscious and unconscious levels (cognitive, social, psychological, among others) and looked at how these often invisible adjustments can be harnessed in alternative social, economic, political or ecological practices. continue

BBDO NY and Joe Montana Stay Strong for AT&T

In a campaign scheduled to culminate with tonight’s first-ever College Football Championship, BBDO New York focuses on a single fact for client AT&T: the provider offers customers “the nation’s strongest LTE signal.”

This is not a new claim from AT&T, which began promoting the superiority of its LTE systems over a year ago and now states that its LTE “footprint” is larger than all of its competitors’.

But the “strength” concept did allow the agency to riff on a theme with the help of four retired football legends. In the first spot, “Mental Strength,” Herschel Walker pulls a Jedi mind trick on Doug Flutie:

The second spot rearranges the group to put another veteran in the hot seat.

(more…)

New Career Opportunities Daily: The best jobs in media.

Droga5 Attempts to Crowdfund a Super Bowl Ad for Newcastle

Last year, Droga5 gained a lot of attention for Newcastle with its “If We Made It” digital campaign for the brand. So when the agency crashed Doritos “Crash the Super Bowl” campaign with its “Chores” effort, it was clear that it was likely just the beginning of the agency’s latest campaign leading up to the big game. Now Droga5 has launched a more substantial effort, relying on a deadpan delivery from Aubrey Plaza to call on other brands to join forces with Newcastle to purchase a Super Bowl ad.

After a quick dig at big game advertising in general, and Chrysler’s ridiculous Super Bowl spot last year in particular, Plaza jumps to the pitch in typically deadpan fashion. The gist is that Newcastle wants in on the big game, but is looking for partners (whose logos and brands would also be featured in the ad), or as Plaza puts it, “Instead of blowing Newcastle’s marketing budget, let’s team up to blow all of our marketing budgets.”

(more…)

New Career Opportunities Daily: The best jobs in media.

This Is Tiffany's First Engagement Ad to Feature a Same-Sex Couple

Tiffany & Co. made headlines this weekend with a preview of its new campaign, featuring seven real life couples who’ve all popped the question—including a same-sex couple.

The real-life gay couple, a handsome New York City pair, are part of a push from the brand to show diverse love stories, a spokeswoman for the company explained to Elle

“Nowadays, the road to marriage is no longer linear, and true love can happen more than once with love stories coming in a variety of forms,” said the spokeswoman. “The Tiffany engagement ring is the first sentence of the story that a couple will write together as they create a life that is deeply intimate and exceptional, which is the message we hope to convey through this campaign.” 

While it’s certainly exciting to see such an iconic brand make a progressive statement with its “Will You?” campaign, it’s also obvious that it makes sense economically. The growing market of same-sex couples searching for engagement rings has many brands courting gay and lesbian couples directly. 

See the full ad below, and click to enlarge.



CES 2015: A semana mais extravagante da tecnologia

CES

> ASSINE o canal do B9 no YouTube
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> MOTION por A Madre
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Brainstorm9Post originalmente publicado no Brainstorm #9
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