Americans from all walks of life are convinced that they are right. Forget the topic or that they may be wrong as hell. They think they’re right, so they are. It’s the kind of thing that could drive person to eat a lot of candy in a nervous fit. Thankfully, there is a better way […]
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For the ninth time in the last 10 years, Americans have rallied to shatter the all-time Super Bowl ratings record.
According to Nielsen fast national data, NBC’s broadcast of Super Bowl XLIX now stands as the most-watched program in U.S. TV history, averaging a staggering 114.4 million viewers. The New England Patriots-Seattle Seahawks nail-biter edged last year’s draw on Fox (112.2 million) by 2%.
The record for overall viewership of the NFL championship game has been re-written nearly every year going back to Super Bowl XL (February 5, 2006). The only game in the last decade that failed to improve on its immediate predecessor was Super Bowl XLVII — the 2013 CBS broadcast that dipped 2% to 108.7 million viewers after a 34-minute power outage put a damper on the Ravens-49ers showdown.
La designer espagnole Rocio Montoya imagine de très beaux collages qui reprennent des portraits de femmes et des illustrations de fleurs qu’elle trouve dans de vieux manuels botaniques ou des magazines de mode. A travers ses compositions complexes, elle montre les femmes comme des créatures florales et des figures de fuite en recherche d’identité. Un travail poétique et inspirant à découvrir en images.
Bringing back the “This Bud’s for you” tagline, and sneering at the peach pumpkin spicy micro-brewery beers, Budweiser declares its golden suds the hard working beer of America.
Vinny Warren was part of the team at DDB/Chicago who created the original “Wassup” super bowl ad, an ad that had such an impact people were saying “wassup” in the most annoying manner for years. Trivia, the wassup ad aired pre-bowl, not during the game – then they aired “Wassup girlfriend“. The Wassup ad was very strange in a sea of same. Some people didn’t get it, but those who did laughed their heads off.
(TrendHunter.com) The February 2015 home ideas focuses on bringing light and whimsy into the living space in order combat the darkness of the winter months. Although many people are adverse to making large purchases,…
Today in news we missed because of all the Super Bowl nonsense, FCB apparently lost the KFC creative account to Wieden+Kennedy after more than ten years — a period during which the agency produced a wide variety of work for the client.
A source who didn’t speak to us told Maureen Morrison of AdAge that the two agencies faced off in a closed pitch from which Wieden emerged victorious.
No one involved would confirm the story, but one year ago KFC’s parent company hired a new CMO — a move that often portends doom for a client’s agency of record. Coincidentally, that very CMO spent many years at Procter & Gamble and served as the North American marketing director for Old Spice when W+K launched “The Man Your Man Could Smell Like.”
The internal memo from CCO Todd Tilford and Chicago President Michael Fassnacht reads as both disappointed and puzzled:
“We have done incredibly strong work for KFC over the last 10 years, especially over the last 24 months…In 2014, KFC was the most social [quick-service restaurant] brand in North America, was ranked as the second most engaging QSR brand by Forbes in November 2014, and enjoyed very strong sales results over the last nine months that outshine the rest of the QSR category. We expect this trend to continue in 2015 while our new work runs nationwide.”
The news marks Wieden+Kennedy’s biggest win since Verizon less than three weeks ago.
In other KFC news, McCann Erickson continues to serve as the brand’s AOR in Romania, where “Rich Kids of Instagram” remains a topic of considerable interest among young people. To promote the client’s new Smart (read: cheap) Menu, the agency challenged Romanian teens and others to “recreate” the most popular shots to appear under that hashtag…minus all the money and expensive crap it buys.
Here are a couple of selections from the resulting tumblr page with a hashtag that translates to “little money, big fun”:
The kids are clever, but without formal training they probably won’t get hired by W+K.
While it took some late-game heroics for NBC to sell off the last of its in-game Super Bowl spots, the top-rated TV network didn’t exactly leave a lot of money on the table.
Despite securing its final advertiser commitment mere days before Super Bowl XLIX kicked off in Glendale, Ariz., NBC’s in-house promotional blitz was no more pronounced than in years past. All told, the Peacock aired seven minutes and 10 seconds of teasers for its own programs and a handful of shows on its sibling cable channels, according to Kantar Media, up slightly from the six minutes and 25 seconds Fox devoted to promos during last year’s game.
The differential is even less significant when one takes into account Fox’s relatively tight prime time schedule. Fox programs 15 hours of original content per week to NBC’s 22; as such, the network simply does not have nearly as much home-grown content to promote over the course of a four-hour football game.
Lorsque Quentin de Coster et le chef Sang-Hoon Degeimbre se sont rencontrés, ils ont réalisé à quel point leurs domaines respectifs pouvaient être similaires sur le point créatif. Par la suite, le designer a conçu une installation pour le restaurant du chef étoilé nommé l’Air du temps. Une création organique et pure rappelant un champ végétal à l’envers. À découvrir en images.
W+K Portland brought its “It’s Amazing What You’re Capable Of” for TurboTax to the Super Bowl last night with “Boston Tea Party.”
“It’s Amazing What You’re Capable Of,” W+K’s first campaign for the brand, debuted at the start of 2014 with “The Year of You,” following the agency winning AOR duties the previous summer. “Boston Tea Party” introduces TurboTax’s new offering of free filing for individuals who file a simple tax return (1040A/1040EZ). The spot imagines that historical event going down a little differently when the British offer to allow Americans to file taxes for free, injecting a bit of big game appropriate humor into the campaign. “Okay, so maybe that’s not exactly how it went down,” the spot concedes, “but you can file on TurboTax for absolutely nothing.”
It may not be the most noteworthy ad of the Super Bowl, but “Boston Tea Party” fits the brand well, managing to simultaneously feel like an extension of the “It’s Amazing What You’re Capable Of” campaign while also introducing a new selling point for the brand.
Credits:
W+K PORTLAND
Creative Directors Dan Kroeger / Max Stinson
Copywriter Darcie Burrell / Brooke Barker
Art Director Chris Taylor
Producer/ Assistant Producer Endy Hedman / Julie Gursha
Account Team Courtney Nelson / Vanessa Miller / Anna Boteva
Executive Creative Directors Joe Staples / Mark Fitzloff
Head of Production Ben Grylewicz
Strategic Planning Amber Higgins / Nathan Goldberg
Project Management Liza Robbins
PRODUCTION
Production Company Biscuit
Director Noam Murro
Managing Director Shawn Lacy
Executive Producer Colleen O’Donnell
Line Producer Jay Veal
Director of Photography Simon Duggan
EDITORIAL
Editorial Company Exile
Editor Kirk Baxter
Assistant Editor Nate Gross / Grant Hall
Post Producer Toby Louie
Post Executive Producer CL Weaver
VFX
VFX Company The Mill
VFX Executive Producer Sue Troyan
Executive Color Producer Thatcher Peterson
VFX Producer Dan Robers
Color Producer Antonio Hardy
Production Coordinator Benjamin Sposato
Creative Director / Shoot
Supervisor
2D Lead Chris Knight
2D Artists Sarah Eim / John Price / Robert Murdock / Martin Karlsson
3D Lead Tom Graham
3D Artists Phill Mayer / Katie Yancey / Alberto Lara / Jason Monroe / Majid Esmaeili / Mario Afu
Matte Painters Sun Chung / Thom Price / Andy Wheater
Robert Sethi / Chris Knight
Hassan / Nick Lines / Fabian Elmers / Steve Olsen / Dustin Colson / Carl Harders / Simon
Brown / Ed Boldero / Jason Jansky
Colorist Adam Scott
MUSIC
Sound Company Barking Owl
Creative Director Kelly Bayett
Head of Production Whitney Fromholtz
Song #1 Original composed music — “To Win (Hero Theme)”
Song #2 Bob Dylan “The Man in Me”
SOUND DESIGN
Sound Company Barking Owl
Sound Designer Michael Anastasi
Creative Director Kelly Bayett
Producer Whitney Fromholtz
MIX
Mix Company Eleven Sound
Mixer Jeff Payne
Assistant Mixer Ben Freer
Producer Dawn Redmann
Exec Producer Suzanne Hollingshead
W+K Portland compares food to drugs in its Super Bowl spot for Weight Watchers, “All You Can Eat,” the first-ever big game appearance for the brand.
The ad comes just a few months after the agency debuted its first work for the brand with “If You’re Happy.” That spot explored how people use eating to deal with all sorts of emotions. Extrapolating a bit on that theme, “All You Can Eat” examines how eating (especially sweet and/or fatty foods) can be like a drug, as well as the manipulative ways these foods are marketed. With voiceover from Breaking Bad‘s Aaron Paul, the ad opens by asking, “Hey, you wanna get baked? And glazed, iced, fried?” over images of tempting junk food. The sinister message continues, until the ad ends with the line “It’s time to take back control,” followed by the Help with the Hard Part” tagline. It’s a natural evolution from “If You’re Happy” and its exploration of the psychological side of eating, and ultimately is more successful than that spot thanks to Paul’s voice acting, along with tighter writing and editing.
Nissan United, the Omnicom unit dedicated to Nissan’s advertising, has hired Antonio Navas as its first chief creative officer. The role was previously overseen by Rob Schwartz as global creative president of TBWA/Worldwide prior to his appointment to CEO of TBWA/Chiat/Day, New York earlier this year. Mr. Navas, who will be based in New York and will oversee global Nissan creative and content from both Omnicom and non-Omnicom agencies, joins from Saatchi & Saatchi New Zealand, where he was executive creative director. There, he worked on clients such as Toyota, Defence Force, ASB Bank, Lexus and Telecom. Prior to Saatchi, he worked at agencies including Ogilvy, Goodby Silverstein, FCB, BBDO and Amster Yard. He has been a juror in international advertising shows including Cannes, One Show, Art Directors Club, and AICP, and his work has won awards at each of them.
This isn’t views we’re counting this time, as basic and valid as those views are. This Super Bowl scorecard tracks activity across YouTube, Facebook, Twitter and search that’s explicitly related to the commercials, as calculated by iSpot. And iSpot weights the activities, too, so promoting and sharing a video counts for more than just watching it, which in turn is more valuable than just liking or voting for it.
And by that measure of engagement, after a late-breaking surge on Monday through 2 p.m. ET, look who won the Super Bowl (although Bud’s “Lost Dog” is near the top, same as with simple views):
Set to the most american of all songs, “This land is your land” takes us from California to the New York island, from the red wood forest to the Gulf Stream waters, to Indias elephant trafficked highways, to the silk roads camel traffic jam, to Australian and Indonesia, and
Tom Wheeler, chairman of the Federal Communications Commission, is expected to propose reclassifying high-speed Internet as a telecommunications service.
The Budweiser ad, which also featured the brand’s Clydesdale horses, scored big on social media, while a Nationwide spot angered viewers.
This is a guest post by Tom Siebert.
Before the end of the first quarter, I changed my twitter #adbowl hashtag to #sadbowl — but I had no idea how accurate that theme would turn out to be.
Commercials for the 49th Super Bowl may have been overall better than usual (though there were certainly a couple clunkers, and one disaster for the ages), but it was largely a roster of somber and sometimes unsettling spots.
If advertising reflects the tone of our times, then we live in a wounded and worried nation, concerned God has abandoned us, hungry for a father figure, feeling guilty about how we treat women, and fearful of the sense of loss and even death waiting in the wings.
Disturbingly, the America presented by the collective unconscious of the top minds of the advertising industry in 2015 is not a place you’d want to live. Despite over-the-top absurdist escapism like life-sized Pac-Man games and updated fairy tales in which our tortoise hero cheats to win (in a Mercedes, no less), the protagonists of the 2015 Sad Bowl did not much feel like winners.
The biggest loser of the year was a misbegotten flop of a commercial that should go six feet down in history along with the Just for Feet horror show and GroupOn’s insulting trivialization of Tibet.
No guess is necessary, because we all know it’s the Nationwide Insurance ad that swerved from playful to shocking like a smooth-handling sports car crashing into a tree: a plucky boy informs us that he WON’T experience all the pleasures mentioned over the past thirty seconds, because he’s dead.
At the party I attended, a man literally said, “Holy shit! That was the worst ad ever!”
It was a sucker punch to the heart completely inappropriate for the Super Bowl. It was never a good ad — at its core, Nationwide is leveraging parents’ love to create fear and then pressure to purchase their product — but it’s 100 times worse when slotted among what’s supposed to be America’s biggest secular holiday…and a rare television experience the whole family can share. Truly an epic failure on numerous levels.
The guys at Nissan are breathing a sigh of relief, because the exact same ad pod also included their spot featuring an absent race car driving dad and his perpetually lonely and worried wife and son. The campaign seemed to have learned nothing from its own theme: Harry Chapin’s tragic fatherhood fable of loss and regret, “Cats in the Cradle.”
The smartest takeaway for this downer came from @MaleCopywriter:
“Shitty dads drive Nissans” — Nissan #BrandBowl #SuperBowl
— Lawson Clarke (@Malecopywriter) February 2, 2015
It may have been the worst ad of the night…before Nationwide ran and jaws dropped around the room.
The other seriously disturbing ad was for Jeep, which used Woody Guthrie’s patriotic “This Land Is Your Land” to unsettling and perhaps sinister effect, showcasing the beauty of the United States before moving into a global perspective, which sure made the commercial seem like a paean to American Imperialism.
Both Microsoft and Camry ads featured Americans with prosthetic legs. The former was more sincere than the latter, which featured Paralympic snowboarder Amy Purdy doing real outdoor stuff and fake ad stuff while Mohammad Ali audaciously skipped some rope-a-dope off the tongue. But there was no connection between the two…and the connection to the Camry — Camrys are safe and reliable, but hardly bold — wasn’t authentic to the brand.
Viewers also endured a parade of freakishly-altered Americans ranging from the only slightly stretched countenance of Pierce Brosnan for KIA to the Joker-like Katie Couric and the nearly unrecognizable terror who claims to be Bryant Gumbel hawking BMW. Then, of course, the full-on freak show that is Kim Kardashian parodied Save the Children for T-Mobile. As a viewer, I found myself distracted from the message in each of these campaigns by the bizarre countenance of the stars’ faces.
The best cameo of the night came from Liam Neeson, who was perfectly and amusingly cast as a gamer waiting at a coffee shop, for “Clash of Clans,” channeling his best intense Taken persona and bringing something surprising and unexpected to a category that usually falls flat (take last night’s “Game of War” campaign, for example). Jeff Bridges was less personally appealing in the SquareSpace campaign, which may represent the biggest “WTF?” of the night.
A couple of feel-good spots for dads and daughters were great for :50 until you realized that they were advertising Dove for Men and Always tampons (in intrusive cutaways).
The NFL/NoMore.com PSA-ish spot also presenting a jarring contrast between the effectiveness of the ad and the ineffectiveness of the league to convince us it cares about the topic at hand.
Bud did its usual thing with puppies and horses, but the one spot that stood out from the rest (for me) was Carnival’s unexpectedly resonant commercial featuring a voiceover from President John F. Kennedy. Unlike any other Super Bowl ad, it actually sought to express a sense of wonder via the mystical draw of the sea. Part of my pleasure came from the sense of surprise — too many of these damn ads get previewed before the game — but the Carnival campaign was also beautifully shot and emotionally evocative.
Otherwise, most of the highlights leaned toward humor. The much-mentioned Snickers spot may not be the funniest Super Bowl ad of all time, but it built on an already-successful campaign and used special effects for a purpose instead of a gimmick. The Avocado ad was clever and perfect for the game. The Mophie spot was a big budget blockbuster with a dark gag at the end; it was borderline blasphemy, but it was also one of the night’s very best because it seemed to sum up the existential unease suggested by many of the other commercials.
That’s what we’re left with after the four-plus hour high holy day of consumerist capitalism and sport: the game quickly turned from a suspenseful classic to a sour and arrogant show transformed by arguably the worst coaching decision in the history of the sport into a game-ending brawl.
The entire experience reinforced America’s perception of itself as an incomplete people living in a country where people like Patriots owner Bob Kraft score the all-important post-game interview before any player. It’s a country in which most of us desperately hope to carve out a little safe space for our children…while a nationwide insurance company suggests we probably can’t (so we might as well buy their product).
It’s going to take more than a hug from a lowest-common-denominator burger joint to make any of us feel better.
If you watched this year’s Super Bowl ads, you noticed two prevailing themes: cute puppies and awesome dads. Capitalizing on this trend, Doritos decided to combine the concepts in an online Super Bowl spot on Sunday—by reuniting a delightful French Bulldog named Doritos with his even more adorable puppy, Nacho.
Now, watching dads heartwarmingly reunite with their sons usually brings a tear to the viewer’s eye. But here it’s a little different. This one is decidedly less poignant, unless you get choked up by butt sniffing and farting.
The clip was one of several that the snack food brand produced in response to different Super Bowl spots, including Victoria’s Secret and Nationwide. See those spots below.
.@VictoriasSecret you floored us with your spot. Hire us next time? Here’s our audition tape #DoritosSecret https://t.co/gWbgvl03Pl
— Doritos (@Doritos) February 2, 2015
.@nationwide here is what we would do if we were invisible. Hint: more #Doritos #DefinitelyVisible https://t.co/vMHm8wXx1R
— Doritos (@Doritos) February 2, 2015
L’artiste canadien basé à New York, Jonathan Brand, a réalisé une réplique de la fameuse moto Honda CB500 en utilisant du plastique biodégradable à base de maïs. Les pièces ont alors été imprimées puis assemblées pour fabriquer ce deux roues transparent. A découvrir en vidéo dans la suite de l’article.
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.