Hasta La Creative!

The social media giant is said to be in talks with several news publishers, offering to deliver their content quickly, in exchange for a certain loss of control over their readership.

Dans sa série « 48?, le photographe et graphiste Victor Tretiak transforme ses photos en des mosaïques de 48 carreaux qui distordent la perspective, l’échelle et les couleurs des images. Certaines de ces scènes tropicales semblent plus proches ou plus éloignées qu’elles ne le sont réellement, donnant ainsi l’impression au spectateur d’admirer ces paysages « Rubik’s Cube » avec une paire de binoculaires à prisme.

In the age of agency labels — media, digital, creative, social, “traditional” and more — should the full service house be resuscitated? Has that process already begun?

“It isn’t time to bring it back,” said Paul Mead, founder and managing director of VCCP Media, during a panel during Advertising Week Europe in London. “But it’s got to be time to be thinking about it.”

Mr. Mead argued that the all-agency idea isn’t the issue, but rather its ineffective execution. Clients bringing work in-house wouldn’t immediately split capabilities up and form separate P&L’s, he reasoned. In fact, in his experience, creative teams have often been inclined to use all of the resources they’re provided, asking the questions that will tell them what is and isn’t possible.

Continue reading at AdAge.com

Good news, soccer-obssesed dudes — it turns out if you can kick the ball, you can dance too, at least, as long as you also have a little help from a film editor.

A set of ads from Spanish soccer magazine Libero takes on the idea that men can’t cut a rug, by looping footage of casual soccer players doing warmups, feints, passes, and other tricks in time with music.

Visually, the spots, created by Lola, are basically GIF montages. But overall, they, do a nice job of wrapping the style into a clear message: that the publication covers culture—beyond sports—in terms football fans will enjoy. (The spots also fall less into the men-are-meatheads trap than the brand’s relationship-talk spots from early last year, which are still plenty funny.)

Sure, the “Can-can” video is a touch corny (who wants to hear that song again, ever, even as a joke?) But the rock and techno clips all more or less nail the movements with panache (Cumbia looks great, too… we just can’t call ourselves experts).

Of course, the ads might also be ruining a perfectly good excuse for the guys who were just being lazy. 

(Via Ads of the World)

Finding the right balance of spending on marketing campaigns and incentives can be tricky for auto executives.

So J.D. Power and marketing analytics company MarketShare have teamed up to help sales and marketing leaders achieve that balance, Automotive News reported today.

Historically, it’s been difficult to evaluate these categories side-by-side and find the ideal investment mix between the two, said Thomas King, J.D. Power’s VP of the Power Information Network.

Continue reading at AdAge.com

O acesso à música através de assinatura de serviços de streaming já está fazendo mais sucesso do que a aquisição dos álbuns em forma de CDs, ao menos nos EUA. Segundo dados da RIAA (Recording Industry Association of America), a venda de assinaturas de serviços de streaming alcançou o patamar de 1,87 bilhão de dólares em 2014, ultrapassando o total obtido com CDs, que ficou pouca coisa abaixo, em 1,85 bilhão de dólares.

Somando todas as estratégias de música on-demand, incluindo serviços como Spotify e Rhapsody, rádios online como Sirius XM e Pandora, e até mesmo do YouTube Music, a RIAA mostra que a procura deles pelos consumidores aumentou – em 2013, esses serviços eram responsáveis por 21% do total de receita gerada pela indústria da música, saltando para 27% em 2014.

Um dado curioso é que o vinil praticamente ‘voltou dos mortos’ – a mídia, que já foi aposentada por muitos, voltou a crescer e agora responde por um nicho que aumentou 50% das suas vendas de 2013 para 2014.

Post originalmente publicado no Brainstorm #9
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Earlier this month, we posted on a few staffing changes at Ogilvy New York (which is currently pitching Coca-Cola along with nine other agencies).

One of the pending departures mentioned was that of Lisa Clunie, the senior partner and director of creative management for the agency’s entire North American operation.

Clunie joined the agency at a crucial point in 2011 after spending several years on the accounts side at Carmichael Lynch, Fallon, and BBH and serving nearly three years as managing director of Saatch & Saatchi’s New York office. She clearly made a very big impression on North American CCO Steve Simpson, the “writer’s writer” who joined Ogilvy in 2010 after spending 15 years as one of the partners in Goodby, Silverstein and Partners.

The “media content company” mentioned in Simpson’s internal memo (see below) that went out to the entire Ogilvy North America organization last Friday is Refinery29.

That site, which launched in 2005 to serve a young, primarily female demographic, recently won the Publisher of the Year designation at Digiday’s media awards for an extended series called “The Anti-Diet Project.”

Earlier this year, Refinery29 made headlines by hiring a former VICE executive to run its video department, and last week Capital New York reported that the property would move forward with its plans to appeal to a more general audience by hiring reporters to cover politics, technology, and broader cultural concerns.

Here’s the memo from Simpson:

March 20, 2015

ALL NORTH AMERICA STAFF

THE ADVENTURES OF LISA CLUNIE

Almost four years ago, Lisa Clunie joined Ogilvy & Mather to help invigorate a creative culture that needed it. We were still weighed down by challenges that had affected everyone and every industry (the near collapse of the world in 2008) and maybe also by a special brand of crankiness of our own manufacture.

Sometimes, however, a bold and bright personality can lift a company’s mood and raise its ambition by sheer force of example.

Lisa’s impact was important and immediate. She helped redesign the way “creative” works–so that creative is allowed to work. She helped make the creative discipline more professional, inspiring and playful. She cut through complexity in a way that wasn’t as effortless as it looked. And while everyone in our industry vows they are “about the work,” Lisa has always been about the work, and the people, equally. We are talent, not overhead.

After lending us the best of her energies, Lisa is leaving to join a media content company as COO. It is a young company, nine years old, and growing fast. There she will surely experience new kinds of assaults upon her optimism—but just as surely, she will deflect them with the wit, grace and strength we expect from Lisa and that we will sincerely miss.

Please join me in wishing Lisa the very best of luck.

Steve Simpson

Le magnifique phénomène des aurores boréales a été capturé par le photographe Marko Korosec lors d’un voyage dans la région arctique de la Laponie en Finlande du Nord. Il a utilisé la technique de la longue exposition armé de son DSLR Canon pour créer ces superbes images.