Students and faculty at the university, one of the nation’s pre-eminent historically black higher education institutions, set out Thursday to expand entries and create new ones.
(TrendHunter.com) A researcher at Dalhousie University in Halifax, Canada has invented a topical tattoo removal cream that makes tattoo ink fade away painlessly. Getting inked can be a lot of fun, but there’s…
The walls have ears, almost literally, when Amazon’s Echo is listening. This device and its peers will transform how people interact with media, appliances and even each other at home. Brands will love it.
I assumed that the Echo voice-activated assistant would be a $99 paperweight, albeit half the price the paperweight costs people who don’t subscribe to Amazon Prime. Instead, it wound up fitting in somewhere between a useful gadget and a member of the family.
Amazon Echo is a black cylinder standing nine inches tall — about the dimensions of a thin roll of paper towels. Plug it in, sync it with a mobile device via wifi or Bluetooth so it can connect to a wireless network, and it listens in the background for its name (Alexa or Amazon are the only options so far). After someone in the room says “Alexa,” a ring encircling the Echo’s top shines with a blue light, and it awaits commands. Particularly useful ones include “weather” for a local report or travel forecast; “buy diapers” to add such items to a shopping list in the accompanying mobile app; and “play classic rock” to stream songs from Amazon or play music from your own stored library. It can also look up factual information from services such as Wikipedia, set a timer, create reminders and respond to other requests.
Procter & Gamble Co.’s brand divestitures will come bigger and faster than originally anticipated, with the company today projecting they will total 14% of sales, or around $11.5 billion. That’s up from the original plan for 10% or $8.2 billion announced in August.
In a presentation today at the Consumer Analyst Group of New York annual conference in Boca Raton, Fla., P&G Chief Financial Officer Jon Moeller said the company hopes to have “negotiated or announced” the balance of its brand divestitures or discontinuations “as early as this summer, roughly one year from our announcement” and to have completed the of selling, merging or spinning off brands by July 2016.
To date, P&G has announced divestitures or discontinuation of 35 of the 100 brands, from big ones such as Duracell and Iams to much smaller ones, such as the Avril Lavigne fragrance license or the MDVIP concierge physician service.
A little goes a long way.
Advertising Agency: DLKW Lowe, London, UK
Creative Directors: Dave Henderson, Richard Denney
Art Directors / Copywriters: Lovisa Silburn, Amber Casey
Photographer: James Day
A little goes a long way.
Advertising Agency: DLKW Lowe, London, UK
Creative Directors: Dave Henderson, Richard Denney
Art Directors / Copywriters: Lovisa Silburn, Amber Casey
Photographer: James Day
A little goes a long way.
Advertising Agency: DLKW Lowe, London, UK
Creative Directors: Dave Henderson, Richard Denney
Art Directors / Copywriters: Lovisa Silburn, Amber Casey
Photographer: James Day
by
From Adbusters #118:
Tim Hetherington
“Outside, there are people walking around by the windows like it’s no big deal. People, who have no idea where Fallujah is, where three of your platoon members died, people who have lived their entire lives at white.
In Wilmington, you don’t have a squad, you don’t have a battle buddy and you don’t even have a weapon. You startle ten times checking for it and it’s not there. You’re safe, so your alertness should be at white, but it’s not.
Instead you are stuck in an American Eagle Outfitters. Your wife gives you some clothes to try on and you walk into the tiny dressing room. You close the door, and you don’t want to open it again.”
Klay’s words hit my bile ducts with enough impact to make me wonder if there will be blood in my urine.
I know the seductive pulse of adrenaline as the heart rate goes up and those around me shift from possible threat to inevitable target. I feel the frustration of an existence merged beside people who don’t want, need or care to think of life beyond the tip of their nose.
War no longer requires National mobilization, nor conscription or any sense of a shift in the gears of policy. War is now a full-time job. The plan is in place before boots catch dirt and there will be no hero’s welcome for those who see the battlefield as a welcome escape from the unemployment line at home.
The enemy is a slogan. A mythological being immortalized in news reports, advertisements, video games and the latest smart phone app. War is an industry, the active tentacle of a techno-armament complex so ingrained into the roots of American culture it is the prophesized invisible hand … It’s sold using the same methods as pork bellies, politicians and soap.
At the cessation of the First World War, it was said there were two-types of Britons: Those who fought and those who stayed home and did their best to ignore the atrocities perpetrated in their National interest. The hard truth is not much has changed. Those who went, return to be either forgotten or forced to sanitize the experience for a population distracted with selfies, reality television and cult of personality news.
“ ‘Yeah’ he said softly, ‘yeah it&rsquols crazy.’ I could tell he was searching for the right words to say. ‘Look, I’m going to tell you something.’
‘Okay’ I said.
‘I respect what you’ve been through,’ he said.
I took a sip of my beer. ‘I don’t want you to respect what I’ve been through,’ I said.
That confused him. ‘What do you want?’
I didn’t know. We sat and drank beer for a bit.
‘I want you to be disgusted,’ I said.
‘Okay,’ he said.
‘And,’ I said, ‘you didn’t know that kid. So don’t pretend like you care. Everybody wants to feel like they are some caring person.’”
Redeployment examines the war and homecoming from the eyes of officers, soldiers, morgue detail specialists and civilian development workers. Each locked in a vain attempt to reconnect to the banalities of a society their sacrifice meant to preserve.
At home, those who went no longer fit into the safe image presented by public relations or the delusions of civilians. They are the untouchables &helliop; those in commune with the dead. They yearn to return to the truth of war. The only place each day still makes sense.
Reuters est né il y a 30 ans. Trente années à jouer un rôle clé et indispensable dans la distribution de photojournalisme pour les publications à travers le monde. Pour célébrer cet anniversaire, l’agence a pioché dans ses archives pour nous livrer une partie des clichés les plus marquants.
Frantic Kurdish refugees struggle for a loaf of bread during a humanitarian aid distribution at the Iraqi-Turkish border, April 5, 1992. Yannis Behrakis.
An opposition supporter holds up a laptop showing images of celebrations in Cairo’s Tahrir Square, after Egypt’s President Hosni Mubarak resigned, February 11, 2011. Dylan Martinez.
A would-be immigrant crawls on the beach after his arrival on a makeshift boat on the Gran Tarajal beach in Spain’s Canary Island of Fuerteventura, May 5, 2006. Juan Medina.
A Russian police officer carries a released baby from a school seized by heavily armed masked men and women in the town of Beslan in the province of North Ossetia near Chechnya, September 2, 2004. Viktor Korotayev.
Petrol sprays on the Formula One racing car of Netherland’s Jos Verstappen seconds before the car and the crew of Benetton Ford caught on fire during refueling at the German F-1 Grand Prix in Hockenheim, July 31, 1994. Joachim Herrmann.
Sgt. William Olas Bee, a U.S. Marine from the 24th Marine Expeditionary Unit, has a close call after Taliban fighters opened fire near Garmser in Helmand Province of Afghanistan, May 18, 2008. Goran Tomasevic.
Rescue workers carry fatally injured New York City Fire Department Chaplain, Father Mychal Judge, from one of the World Trade Center towers in New York, September 11, 2001. Shannon Stapleton.
An Albanian man carries a child to a US Marine CH53 Super Stallion helicopter as it lands at Golame beach near the port of Durres, March 16, 1997. Yannis Behrakis.
Oil fire fighters from Boots and Coots try to put out an oil well fire in Al-Ahmadi where retreating Saddam Hussein forces had set fire to the oil wells, Kuwait, March 30, 1991. Russell Boyce.
A woman cries as she cannot find her 4-year-old daughter and husband on the top of the ruins of a destroyed school in earthquake-hit Beichuan county, Sichuan province, May 17, 2008. Jason Lee.
A Turkish riot policeman uses tear gas as people protest against the destruction of trees in a park brought about by a pedestrian project, in Taksim Square in central Istanbul, May 28, 2013. Osman Orsal.
Staff members stand in a meeting room at Lehman Brothers offices in the financial district of Canary Wharf in London, September 11, 2008. Kevin Coombs.
A Georgian man cries as he holds the body of his relative after a bombardment in Gori, Georgia, August 9, 2008. Gleb Garanich.
Israeli soldiers mourn during the funeral of their comrade Alex Mashavisky at a cemetery in Beersheba, Israel, January 7, 2009. Eric Gaillard.
A man clings to the top of a vehicle before being rescued by the U.S. Coast Guard from the flooded streets of New Orleans, in the aftermath of Hurricane Katrina, in Louisiana, September 4, 2005. Robert Galbraith.
Kenji Nagai of APF lies dying after police and military officials fired on him in Yangon, September 27, 2007. Adrees Latif.
Marooned flood victims try to grab onto the side bars of a hovering army helicopter which arrived to distribute food supplies in the Muzaffargarh district of Pakistan’s Punjab province, August 7, 2010. Adrees Latif.
U.S. Marine Corp Assaultman Kirk Dalrymple watches as a statue of Iraq’s President Saddam Hussein falls in central Baghdad. April 9, 2003. Goran Tomasevic.
China’s national flag is raised during the opening ceremony of the Beijing 2008 Olympic Games at the National Stadium, August 8, 2008. Jerry Lampen.
A man rinses soot from his face at the scene of a gas pipeline explosion near Nigeria’s commercial capital Lagos, Nigeria, December 26, 2006. Akintunde Akinleye.
Nelson Mandela, accompanied by his wife Winnie, walks out of the Victor Verster prison near Cape Town after spending 27 years in apartheid jails, February 11, 1990. Ulli Michel.
An Indian woman mourns the death of her relative who was killed in the tsunami in Cuddalore, south of the southern Indian city of Madras, December 28, 2004. Arko Datta.
Palestinians try to run away from Israeli soldiers firing teargas during Palestinian-Israeli clashes in the southern Gaza Strip town of Khan Younis, October 20, 2000. Reinhard Krause.
The fingers of malnourished one-year-old Alassa Galisou are pressed against the lips of his mother Fatou Ousseini at an emergency feeding clinic in the town of Tahoua in northwestern Niger, during a drought, August 1, 2005. Finbarr O’Reilly.
A demonstrator pounds away at the Berlin Wall as East Berlin border guards look on from above the Brandenburg Gate in Berlin, November 11, 1989. David Brauchli.
A man stands in front of a convoy of tanks in the Avenue of Eternal Peace in Tiananmen Square in Beijing, June 5, 1989. Arthur Tsang.
The bomb damaged area of the City of London, after two blasts ripped through the buildings in the area,April 24, 1993. Dozens of people were injured in the blast caused by IRA bombs. Andre Camara.
Officials in protective gear check for signs of radiation on children who are from the evacuation area near the Fukushima Daini nuclear plant in Koriyama, Japan, March 13, 2011. Kim Kyung Hoon.
U.S. President Bill Clinton looks on as Israeli Prime Minister Yitzhak Rabin and Palestine Liberation Organization leader Yasser Arafat shake hands after the signing of the Israeli-PLO peace accord at the White House, September 13, 1993. Gary Hershorn.
A picture of North Korea’s founder Kim Il-sung decorates a building in the capital Pyongyang, early October 5, 2011. Damir Sagolj.
(TrendHunter.com) Heart N Soul is an online boutique dedicated to contemporary kids fashion. Created by two Canadian moms, Lori and Rachelle, who scour the globe for spunky, edgy clothing, Heart N Soul fills a…
Here’s a stunt that someone worked on for quite a while: it’s a multi-step interactive project created to determine exactly how terrible your agency’s current creative director is in real life.
The Creative Douchebag Detector Device involves a few of our favorite (dated) references:
Our favorite category may be “side hustles,” which include “having an affair” and running extreme marathons. We’ve heard these jokes before.
For the record, we scored “hipster douche bag,” which is relatively accurate — but we’ll let you determine how spot-on the whole thing is.
From the “press release”:
“Can this new Creative Leader attract and win business? Can they inspire staff? Will they hire the right people? Or will they tank the business and ruin the agency culture with their Douche Baggery?
The Creative Director Douche Bag Detector Device is here to help. This state-of-the-art-futuristic-hi-tek-gismo will calculate the potential DBAG risk of that overly paid Creative Leader.
Simply adjust the dials and toggle the knobs to the exact specifications you are looking for in said Creative Leader and…. Beep! Boop! Beep! DING! You will know with 99.997% accuracy whether the Creative Leader you want to hire has real potential… to be a complete Dill Weed.”
…or you could just add “agencyspy” when Googling that director’s name and see what his or her former colleagues have to say.
Disney Channel is foregoing the shrimp cocktail and musical talent at this year’s upfront in favor of whisking advertisers and media buyers to Disney World and inside Lucasfilm.
Instead of a road show or traditional upfront party, Disney Channel is looking to provide a more immersive experience for its key clients, said Rita Ferro, exec VP-Disney Media Sales and Marketing.
The network will host its West Coast clients at Lucasfilm offices the first week in March and see its East Coast and Midwest clients in Orlando during the following week. It will provide insights on kids’ and families’ media consumption, discuss its branded content arm and introduce new programming, executives said.
“Mad Men” returns for its final season on AMC on April 5. The network released its first on-air promo titled “The Party’s Over,” for the critically acclaimed drama. Diana Ross’ “Love Hangover,” which was released in 1976, is the soundtrack for the spot. While it isn’t clear exactly when the final season of “Mad Men” will be set, the promo video and images hint that we’ve finally left the ’60s behind.
When the hoary old Chuck Lorre sitcom “Two and a Half Men” signs off for the last time with a one-hour episode Thursday night, it will be remembered fondly by CBS ad sales executives, Warner Bros. TV studio execs and fans of a sort of giddy, lowest common denominator raunch. The rest of us may well wonder how the show lasted as long as it did.
Make no mistake, “Two and a Half Men” was a phenomenon. In closing out its 12th season on CBS, the show stands as the longest-running multi-camera comedy in TV history. (Boasting a 14-season run on ABC, the straight-laced family comedy “The Adventures of Ozzie and Harriet” was shot as a single-cam.) At its peak, “Men” was the 10th most-watched series on TV, and even a near-death experience in 2011 couldn’t topple it from its perch as one of broadcast’s priciest ad buys.
But you don’t have to be a town elder in “Footloose” to apprehend that “Men” was perhaps the most relentlessly smutty entertainment franchise this side of Fox’s “Family Guy.” Leering coke goblin Charlie Sheen tattooed his signature brand of charismatic debauchery all over the show’s heaving flanks, while Jon Cryer lent an air of sweaty urgency to his role as Alan, a hapless single dad. Each script was stuffed with jokes about Alan’s enthusiasm for, um “roughing up the suspect,” Charlie’s boozy licentiousness and pretty much any bodily function you might care to name. (Not for nothing does the Google search for “Two and a Half Men” + “fart” expel no fewer than 95,400 results.)
Coca-Cola hasn’t had much luck making the Internet a happier place lately, but maybe this will help—a fun campaign from Coca-Cola Puerto Rico that puts smiley-face emojis right in the brand’s web addresses.
The brand registered URLs for every emoji that conveys happiness. Entering any of these happy icons into a mobile web browser, along with the .ws suffix, leads users to Coca-Cola Puerto Rico’s website.
Why .ws, which is actually the domain suffix for Samoa?
“Emojis are not accepted on domains such as .com, .net, and .org,” DDB Puerto Rico says. “After doing some research on domains that do accept emojis, we opted to go with the .ws because the letters could stand for ‘We smile’ and hence seemed most relevant to the brand.”
For now, all the emoji URLs lead to a special landing page, Emoticoke.com, where consumers can sign up for a chance to get emoji web addresses of their very own. The campaign is being supported by traditional media, including outdoor.
“The vast majority of our audience now visits our website via a mobile device. And since emojis have become a kind of second language for Coke’s younger consumers, we felt this was a great opportunity to connect on a deeper level with our most important demographic,” says Alejandro Gómez, president of Coca-Cola Puerto Rico.
Advertising Agency: 180 Los Angeles, USA
Chief Creative Officer: William Gelner
Creative Directors: Zac Ryder, Adam Groves
Copywriter: Christina Semak
Art Director: Karine Grigorian
Head of Production: Natasha Wellesley
Producer: Nili Zadok
Chief Marketing Officer: Stephen Larkin
Account Manager: Jessica DeLillo
Account Coordinator: Alexandra Conti
Planner: Jason Knight
Editorial Company: Exile Edit
Editor: Nate Gross
Editor: Will Butler
Executive Producer: Carol Lynn Weaver
Producer: Brittany Carson
Editor: Dave Groseclose
Producer: Brian Scharwath
Color/VFX/Finishing: The Mill LA
Colorist: Adam Scott
Color Executive Producer: Thatcher Peterson
Color Producers: Natalie Westerfield, Antonio Hardy
Color Coordinator: Diane Valera
Lead 2D Artist: Robin McGloin
Additional 2D Artists: Scott Johnson
Art Department: Jeff Langlois, Laurence Konishi
Executive Producer: Sue Troyan
VFX Producer: Kiana Bicoy
VFX Coordinator: Jillian Lynes
Recording Studio: Eleven Sound
Mixer: Scott Burns
Asst Mixer: AJ Murillo
Producer: Dawn Redmann
Executive Producer: Suzanne Hollingshead
Advertising Agency: 180 Los Angeles, USA
Chief Creative Officer: William Gelner
Creative Directors: Zac Ryder, Adam Groves
Copywriter: Christina Semak
Art Director: Karine Grigorian
Head of Production: Natasha Wellesley
Producer: Nili Zadok
Chief Marketing Officer: Stephen Larkin
Account Manager: Jessica DeLillo
Account Coordinator: Alexandra Conti
Planner: Jason Knight
Editorial Company: Exile Edit
Editor: Nate Gross
Editor: Will Butler
Executive Producer: Carol Lynn Weaver
Producer: Brittany Carson
Editor: Dave Groseclose
Producer: Brian Scharwath
Color/VFX/Finishing: The Mill LA
Colorist: Adam Scott
Color Executive Producer: Thatcher Peterson
Color Producers: Natalie Westerfield, Antonio Hardy
Color Coordinator: Diane Valera
Lead 2D Artist: Robin McGloin
Additional 2D Artists: Scott Johnson
Art Department: Jeff Langlois, Laurence Konishi
Executive Producer: Sue Troyan
VFX Producer: Kiana Bicoy
VFX Coordinator: Jillian Lynes
Recording Studio: Eleven Sound
Mixer: Scott Burns
Asst Mixer: AJ Murillo
Producer: Dawn Redmann
Executive Producer: Suzanne Hollingshead
Advertising Agency: 180 Los Angeles, USA
Chief Creative Officer: William Gelner
Creative Directors: Zac Ryder, Adam Groves
Copywriter: Christina Semak
Art Director: Karine Grigorian
Head of Production: Natasha Wellesley
Producer: Nili Zadok
Chief Marketing Officer: Stephen Larkin
Account Manager: Jessica DeLillo
Account Coordinator: Alexandra Conti
Planner: Jason Knight
Editorial Company: Exile Edit
Editor: Nate Gross
Editor: Will Butler
Executive Producer: Carol Lynn Weaver
Producer: Brittany Carson
Editor: Dave Groseclose
Producer: Brian Scharwath
Color/VFX/Finishing: The Mill LA
Colorist: Adam Scott
Color Executive Producer: Thatcher Peterson
Color Producers: Natalie Westerfield, Antonio Hardy
Color Coordinator: Diane Valera
Lead 2D Artist: Robin McGloin
Additional 2D Artists: Scott Johnson
Art Department: Jeff Langlois, Laurence Konishi
Executive Producer: Sue Troyan
VFX Producer: Kiana Bicoy
VFX Coordinator: Jillian Lynes
Recording Studio: Eleven Sound
Mixer: Scott Burns
Asst Mixer: AJ Murillo
Producer: Dawn Redmann
Executive Producer: Suzanne Hollingshead
Advertising Agency: 180 Los Angeles, USA
Chief Creative Officer: William Gelner
Creative Directors: Zac Ryder, Adam Groves
Copywriter: Christina Semak
Art Director: Karine Grigorian
Head of Production: Natasha Wellesley
Producer: Nili Zadok
Chief Marketing Officer: Stephen Larkin
Account Manager: Jessica DeLillo
Account Coordinator: Alexandra Conti
Planner: Jason Knight
Editorial Company: Exile Edit
Editor: Nate Gross
Editor: Will Butler
Executive Producer: Carol Lynn Weaver
Producer: Brittany Carson
Editor: Dave Groseclose
Producer: Brian Scharwath
Color/VFX/Finishing: The Mill LA
Colorist: Adam Scott
Color Executive Producer: Thatcher Peterson
Color Producers: Natalie Westerfield, Antonio Hardy
Color Coordinator: Diane Valera
Lead 2D Artist: Robin McGloin
Additional 2D Artists: Scott Johnson
Art Department: Jeff Langlois, Laurence Konishi
Executive Producer: Sue Troyan
VFX Producer: Kiana Bicoy
VFX Coordinator: Jillian Lynes
Recording Studio: Eleven Sound
Mixer: Scott Burns
Asst Mixer: AJ Murillo
Producer: Dawn Redmann
Executive Producer: Suzanne Hollingshead
by
From Adbusters #118:
We need a new religion which is credible and meaningful to 21st century man. Since all gods have been created by man, man is free to create further gods who are far more credible to him now and into the future than the dysfunctional transcendent characters which Abrahamism, New Age etc. produced in the past. God is the sacred occurrence of humans gathering to create and co-create something bigger than themselves, beyond egotistic and narcissistic motives, where of course the Internet and participatory cultural manifestations such as Burning Man are perfect candidates.
Just walk into cathedrals, sit down and just ask yourself why you and your friends cannot build a building like this today.
THE INTERNET AGE IS SO NEW, SO VAST, SO UNLIKE THE PAST THAT A NEW SPIRITUALITY MUST BE CREATED FOR IT.
I think God is always something much bigger than we are and I want to create?—?together with other people who share that belief with me —?I want to create a road out of individualism. Because individualism is exactly what is now killing the planet. It makes us exploit everything that’s laying ahead of us because?—?if we’re gonna die soon anyway?—?we might as well exploit as much as we can before we die. And so we end up with a Cartesian worldview. It was no better than Christianity.
In Christianity, one of the last things Jesus said to his disciples was “I will always be with you,” meaning that the Holy Ghost is the manifestation of God when the believers are together. The Internet is 3 billion people connected together in real time, and if that isn’t the holy spirit then I don’t know what is.
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.
