Carmichael Lynch Named Creative AOR for U.S. Bank

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U.S. Bank has named Minneapolis-based agency Carmichael Lynch as its creative agency of record following a review,.

Carmichael Lynch will be responsible for traditional and digital creative, social media, and production. BSSP had held agency of record duties for the client since winning the account from Publicis Kaplan Thaler in August of 2013.

It is unclear if BSSP will continue to have any involvement with U.S. Bank.

“U.S. Bank is that rare client who knows exactly what they stand for, and has a clear, compelling vision that sets them apart,” Carmichael Lynch CEO Mike Lescarbeau said in a statement. “Our job is to tell the world how the 67,000 people of U.S. Bank are helping customers of all sizes improve their financial futures by selecting the right banking partner.”

U.S. Bank, which is also based in Minneapolis, cited “the full integration of Carmichael Lynch’s services, the power of the creative idea, and a shared belief that people are a company’s greatest asset – employees and customers” as reasons for the decision.

The account win is an important one for Carmichael Lynch, who lost the GNC business last week following a multiple month review.

Hires and Departures at MARC USA

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Pittsburgh’s MARC USA parted ways with several staffers this week (less than 10, according to a spokesperson). The move, however, follows a couple of significant hires and an extended search for new talent.

Last month, MARC named Alison Hammer and Dan O’Donnell as its newest creative directors. The former wrote copy for TBWA, Deutsch, Mullen, and others before landing at FCB Chicago, where she served as senior copywriter and ACD working on multiple campaigns like this unusual one for Verisign.

The latter, who previously worked as ACD at Arnold on accounts like Ocean Spray and Tyson, also spent time as an art director at Mullen as well as Digitas, Hill Holliday, Fallon, etc. Both new CDs will report directly to CCO Bryan Hadlock and will work primarily on the Rite Aid account.

Several months ago, MARC named Susan Bertocchi, former GCD at FCB Chicago, as SVP/CD to run creative on Payless. The agency also announced the hire of yet another FCB alum — former Chief of Staff Bill McCarthy — at that time to serve as VP.

Regarding this week’s departures, here’s the statement from the agency:

“As the direction of our industry continues to change, we made minor adjustments to align our staffing with the needs of current clients. At the same time, we’re actively seeking to fill a number of other positions, so the net effect is virtually no change in our overall staff count.”

Translation: digital. The agency’s LinkedIn job listings reveal that they’re looking for designers/developers, UX specialists, and account executives.

A Real Pigeon Skanks to a Ska Song in Virgin Money's Ludicrous New Ad

Plenty of birds can sing, but how many can dance the skank?

Well, none, probably. But the pigeon in this minute-long Virgin Money spot that just broke in Britain comes damn close, strutting its feathered stuff to The Selecter’s 1979 ska thumper “On My Radio.”

“We just thought banks are boring, mundane, normal at best. Virgin is cooler,” Gavin Torrance, a creative director at The&Partnership who worked on the spot, tells AdFreak. “So, we came up with the idea of taking something normal, and making it cool.”

That’s a real pigeon, and its movements are genuine, though creatively edited, of course, to construct the commercial. “It was a very tricky thing to capture all in-camera,” Torrance says. “That’s why we chose to work with [director] Andy McLeod at Rattling Stick. He had a cunning way to manipulate a real pigeon to get it to perform those intricate dance moves.”

Hmm. Did the dude squawk directions? Coo in the bird’s ear? Torrance isn’t saying. “It took a full day’s filming to capture all the moves we needed,” he says. Several pigeons were on hand, but the performance on screen comes from just one bird.

It’s no moonwalking Shetland pony, but what is, really? Besides, this particular rat with wings (no disrespect intended) gyrates way more realistically than that nag ever did, bopping its beak to the 2-Tone beat and tapping its talons on the sidewalk.

The film combines footage of an actual road with a stylized street set, and clearly, some other visual trickery was employed. You’ve gotta love the dance-club ambiance achieved by the flashing lights of a passing police cruiser and the smoky exhaust of a nearby car.

Leaning more heavily on effects would’ve simplified matters, but “we wanted it to look totally real and authentic,” says Torrance. “There’s no magic in seeing a CGI pigeon twerking. But a real one—now that’s sexy!”

With about 20,000 YouTube views in its first day online, the clip is no instant smash, but cats everywhere should be driving up those stats in short order.

CREDITS
Client: Virgin Money
Marketing Director: Paul Lloyd
Agency: m/SIX
Chief Executive Officer: Jess Burley
Account Director: Beatrice Clarke
Producer: Emma Hovell, The&Partnership
Creatives: Danny Hunt, Gavin Torrance, The&Partnership
Content Agency: AllTogetherNow
Chief Executive Officer: Conor McNicholas
Production Company: Rattling Stick
Director: Andy McLeod
Producer: Simon Sanderson
Postproduction: Big Buoy
Visual Effects: Jim Allen
Producer: Barny Wright
Music: The Selecter, “On My Radio”



HBO Punks Creator of 'Take My Money, HBO' by Sending Sopranos Guys to Shake Him Down

Last week, we saw HBO replying to 3-year-old tweets from cable cutters who wanted a stand-alone HBO option back then—something it is now launching with HBO Now. Today, the network unveils a companion video, in which it punks Jake Caputo—the guy who got people all riled up and demanding stand-alone service in 2012 by launching takemymoneyhbo.com—with help from some very special guests.

If Caputo really wants to give his money away to HBO, Paulie “Walnuts” Gualtieri and Salvatore “Big Pussy” Bonpensiero will happily take it off his hands.



How MasterCard's CMO Inherited a Legacy and Evolved With Consumers


When Raja Rajamannar joined MasterCard as CMO in 2010, he faced the same challenge as many marketers starting a new job: whether to change an ongoing campaign, in this case a more than decade-old success story, or stick with what was working.

MasterCard’s “Priceless” campaign had already withstood three different CMOs, a significant feat in a restless marketing environment where everyone wants to make a mark. But keeping the now 18-year-old effort fresh meant embracing digital and evolving with consumers.

“Dealing with an iconic campaign is both a blessing and a challenge,” said Mr. Rajamannar, who discussed navigating the dilemma to kick off Ad Age’s new video series, Marketer’s Playbook. “How do you take it to the next level when it’s doing so well? And how do you convince the system, and convince yourself, that a change is indeed needed?”

Continue reading at AdAge.com

Metropolitan Cat Cafes – The Recently Opened Meow Parlour is the First NYC Cat Cafe (GALLERY)

(TrendHunter.com) Opened in December 2014, Meow Parlour is the first permanent NYC cat cafe. Inspired by the cat cafes of Japan and the original in Taipai, the unique cafe that puts you in the company of cats is sure…

Saatchi & Saatchi Takes ‘Naptime’ for Luvs

Saatchi & Saatchi New York recently released a series of new ads for Luvs.

Like other recent efforts, the spots focus on the difference between first-time and second-time parents, based on the insight that “By their second kid, every mom is an expert and more likely to choose Luvs than first-time moms.” In “Naptime,” the first-time mom carefully and quietly backs out of the room of her sleeping infant and tells the dad “We’ve got at least twenty minutes, let’s do this” before the infant wakes, crying. Second-time mom just gives the kid an iPad and delivers the same line before the parents embark on a power nap. In other spots, a first-time dad is embarrassed to ask for a breast shield, first-time parents grill a potential babysitter, birth plans and family photos undergo a drastic shift from first child to second child. The formula works well to underscore the campaign’s insight, and at its best (such as in the throw-away lines at the end of “Shopping”) the spots find humor in parental behavior.

Credits:

Advertising Agency: Saatchi & Saatchi, New York, USA
Chief Creative Officer: Jay Benjamin
Executive Creative Directors: Mike Pierantozzi, Stephen Leps
Creative Directors: Erin Wendel, Lauren McCrindle
Art Director: Kristen Giuliano
Copywriter: Callum Spencer
Executive Producer: Greg Hall
Business Manager: Jourdan Gibson
Senior Strategic Planner: Courtney Fagan
Brand Agency Leader: Mark Rolland
Account Director: Caitlin Reynolds
Account Supervisor: Michael Galaburda
Account Executive: Matthew Poveromo
Project Manager: Nathan Allen

Handmade Wooden and Paper Sculptures of Birds

L’artiste londonien Zack Mclaughlin imagine des sculptures réalistes d’oiseaux à partir de bois, de papier et de feuilles d’arbres. Il modélise d’abord en 3D tous ses colibris puis commence à esquisser un début de structure avec du fil rigide et flexible pour arriver au résultat final. Son travail est disponible sur son shop Etsy.

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Hungry Man Hires Lenny Dorfman; Reynald Gresset Joins Reset and More


Hungry Man has signed Lenny Dorfman for global representation. The Cannes Gold Lion winner, known for his work on brands including Nike, Coca Cola, IBM, Volkswagen, Mercedes and GE, has also directed for TV and film: he made the pilot for Iconoclast, a successful series originally made for the Sundance Channel. Dorfman was previously represented by O Positive and before that, Radical Media.

Reset, commercial production home to feature directors David Fincher and Guy Ritchie, has signed Reynald Gresset, formerly of Caviar USA, for representation in the North American market. Gresset is known for his people-centered storytelling, seen in work for brands including Orange, Samsung, SyFy Channel, Johnson & Johnson, and Quaker.

Continue reading at AdAge.com

Daydreaming Consumers Spend More?

Category: Beyond Madison Avenue
Summary: At least, the notion is suggested in a new paper published in the Journal of Consumer Research.

The researchers were examining those who stay very attentive in the decision-making process (experiencers) versus those who would consider themselves a bit aloof when making decisions (mind-wanderers). As elementary as the study appears to be, they actually dug up some interesting conclusions.

First, the group who considers themselves attentive in the decision-making process…

Remote-Controlled Pterodactyls – The Flying Pterodactyl Realistically Flaps Its Wings and Screeches (GALLERY)

(TrendHunter.com) The Flying Pterodactyl is a radio-controlled pterodactyl, developed by Ohio-based PaulG Toys, that actually flies by flapping its wings and emits a terrifyingly realistic pterodactyl screech. Its…

R/GA Launched First Broadcast Campaign for E*Trade

Back in January, we learned that E*Trade had decided to drop Ogilvy as AOR after less than two years and go with R/GA, which had been creating digital work for the client for some time.

This win came as the agency planned “a new emphasis on TV work” for 2015, and its first broadcast campaign for the client quietly debuted nearly three weeks ago.

The campaigns are similar to Ogilvy’s work for the client in that they star Kevin Spacey, but the theme is now “Opportunity Is Everywhere.”

The first ad, “Beards,” is aimed at the kind of woman who might be spending a little too much time on the L train:

After watching Sunday night’s Mad Men, we can only say that we hope mustaches NEVER come back.

In the second spot, “Fast Food,” Spacey observes an investor who may be the last man on Earth to see the latest McDonald’s ads or stop by his local Chipotle:

Point taken, though. Finally, the most recent ad involves an impressionable everyman witnessing yet another thoroughly awful trend: “barefoot shoes.”

Cool. Now do “smart watches.”

 

Agency: R/GA

Taras Wayner, SVP Executive Creative Director

David DeCheser, Group Executive Creative Director

Michael Lowenstern, VP Digital Advertising

Lee Margolis, Creative Director

Philip Rackin, Group Strategy Lead

Peter Pawlick, Associate Planning Director

Kat Friis, Director of Broadcast Production

Kelly Wood, Executive Producer

Jeff Skutnik, Senior Producer

Jonathan Goldmacher, VP Client Services

Michael Beverley, Account Director

 

Production Partners:

Wayne McClammy, Director

Hungry Man, Production Company

Rock Paper Scissors, Edit House

Brand New School, Graphics and Design

Uber Sets Up a Curbside Breathalyzer, Drives You Home If You're Over the Limit

Drunk-driving messaging is a naturally fruitful creative area for any taxi or car-service company, and Uber has produced a very cool campaign around the topic with this curbside breathalyzer in Toronto.

A sidewalk kiosk—dreamed up by agency Rethink and built by design and fabrication studio Stacklab—functions as a typical breathalyzer. You blow through a disposable straw for six seconds, and it analyzes the alcohol content in your breath. If you’re over the legal limit, it offers you a ride home. (The people seen in the video got free rides, in fact.)

“We want to ensure a safe, reliable and affordable ride home is available to everybody, especially late at night when drunk driving is most common and can be avoided,” says Ian Black, General Manager of Uber Toronto.



Reebok Ventilator by Romain Laurent

Focus sur la nouvelle campagne pour la Reebok « Ventilator » imaginée par Romain Laurent. Ce photographe français, dont nous avons déjà parlé précédemment sur Fubiz, s’est chargé de réaliser 5 portraits amusants montrant des visages et des passantes ventilés par la basket. A découvrir dans la galerie.

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U.S. Bank Names Carmichael Lynch Creative Agency of Record


Carmichael Lynch has been tapped as the new creative agency of record for U.S. Bank following a review.

The Minneapolis-based shop will be responsible for creative, digital, social media, and production for the client. BSSP, also known as Butler Shine Stern & Partners, had been the lead creative agency for U.S. Bank since the Sausalito, Calif.-based shop won the account from Publicis Kaplan Thaler in August 2013. It isn’t clear if the agency will remain on some part of the business; a representative for BSSP didn’t immediately respond to a request for comment.

“U.S. Bank is that rare client who knows exactly what they stand for, and has a clear, compelling vision that sets them apart,” said Carmichael Lynch CEO Mike Lescarbeau in a statement. “Our job is to tell the world how the 67,000 people of U.S. Bank are helping customers of all sizes improve their financial futures by selecting the right banking partner.”

Continue reading at AdAge.com

Popcorn Time celebra 1º ano com instalador para iOS que não precisa de jailbreak

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Netflix e Hollywood não gostaram da notícia

> LEIA MAIS: Popcorn Time celebra 1º ano com instalador para iOS que não precisa de jailbreak

Brainstorm9Post originalmente publicado no B9
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Advertising Legend, Comedian Stan Freberg Dies at 88


Stan Freberg, renowned advertising copywriter often referred to as “the father of the funny commercial” and one of Ad Age’s top 100 advertising people of the last century has died. He was 88.

The Grammy, Clio and Silver Lion award winner was born in 1926 in Pasadena, Calif., the only son of a Baptist minister. A self-described lonely child, he spent long hours listening to Fred Allen and Jack Benny on the radio and loved to perform comedy routines for his pet rabbits. After graduating from high school in 1944, he began supplying voices for Warner Bros. Looney Tunes cartoons. He was also the voice of the beaver in Walt Disney’s “Lady & the Tramp” in 1955 and appeared in several movies, including “It’s a Mad Mad Mad Mad World.”

In 1950, Mr. Freberg emerged as a comedy recording artist with a Capitol record, “John & Marsha.” He went on to parody many of the cultural trends of the day with a satiric version of the song “On Top of Old Smokey” in 1951, a send-up of crooner Johnny Ray’s overwrought ballad “Cry” in 1952 and even a parody of the infamous U.S. Sen. Joseph McCarthy called “Point of Order.” Probably his most successful comic record was a satiric version of the police show “Dragnet.”

Continue reading at AdAge.com

The Radical Vision of Toni Morrison

At 84, she sits comfortably as one of the greatest authors in American history, even as her uncompromising dream for black literature seems further away than ever.

Instagram ROI: What Your Brand Can Expect from Working with Influencers

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When we think of social media ROI, we tend to only measure value by numbers. So much attention is given to number of followers, reach, impressions and likes; but while these markers are very important, there’s a much broader story that can be told, particularly on social networks like Instagram where photos create an opportunity to paint a much bigger brand picture.

Sure, Instagram has some limitations in what campaign parameters can be measured — engagement rates act as the major metric — and this can raise the question of what a brand really gains from influencer marketing. However, Instagram, now one of the top three social networks with over 300 million users, gives brands an opportunity to tap into the influence of Instagram power users and leverage their existing follower relationships in order to reach a broad audience.

Why is this important? Well, today’s fast moving social media culture creates a challenge for brands to engage consumers on social networks as feeds are overflowing and polluted with constant updates, making it easy for your brand message to slip by unnoticed.

What some brands don’t realize is that there’s value in a deeper level of influencer marketing where results are more than just stats that can be recorded on a report- this type of brand marketing is about creating familiarity, establishing trust and building relationships.

Influencer marketing requires informed goal-setting in order to fully measure the outcome. Here are the main returns your brand can expect from working with influencers:

1. Targeted Content

Instagrammers have a following that are loyal to their interests so by choosing an influencer to evangelize your brand, your product or service has a better chance at being exposed to your target audience through content that is relevant to those who see it.

Through a variety of Instagram influencers that are well suited to your brand, your message can be spread in many visual forms, each tailored to the audience it is intended for and reaching them in a natural and unobtrusive way.

2. Brand Trust

Actions are difficult to track on Instagram however, according to a Nielsen report, trust and action often go hand in hand. The report highlights how word-of-mouth marketing spurs on actions, showing that peer recommendations are more credible than other forms of advertising.

Although consumer trust in traditional advertising is declining, people are looking to social media to influence purchase decisions. If your brand is associated with a popular Instagrammer, it gives you credibility in the community.

3. Brand Image & Community Building

When it comes to social media marketing, brands not only have to play the game, they have to play it right. When an influencer creates content for your brand, you know that it will fit the Instagram style and resonate well with the community, in turn building your brand image.

An influencer campaign can also help to grow the community of your own Instagram account, generating a following with which you share your own content and engage on a consistent basis.

A perfect example of an Instagram campaign that got it right is the Mercedes Benz “Take the Wheel” campaign. The CLA model was aimed at a new consumer group, who typically wouldn’t see Mercedes Benz as a part of their lifestyle so, to redefine their brand image and target a younger audience, Mercedes set five influential Instagrammers on the case,

The campaign ultimately earned roughly 87 million impressions and 2 million Instagram likes.

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During the month of the campaign, visits to the Mercedes website hit an all-time high, reaching a younger target audience with the lowest average visitor age in the brand’s history.

When the CLA launched two months later, it broke sales records and by working with influencers, the brand was able to closely tie itself to its brand mantra: “it’s not how far or fast you go, it’s who follows you.”

This guest article was written by Brandnew IO CEO Francis Trapp.

Process Talks About the ‘First Time’ for Dear Kate

Production company Process crafted an online spot for startup underwear brand asking women about their first period.

Entitled “First Time,” the spot opens with women suggestively giving the location of their “first time,” before one woman says, “That’s the first time I got my period.” Directed by Mary Harron (the writer/director of films such as American Psycho, I Shot Andy Warhol and The Notorious Betty Page), the spot mines women’s awkward experiences with menarche for humor. Somewhat reminiscent of HelloFlo’s advertising in its directness, the women in the spot share stories that they’re able to laugh about now but were terrifying at the time. Dear Kate, of course, is presented as the “revolutionary” alternative to girls stealing XL tampons from a drug store (as one woman shares) or just throwing out pair after pair of underwear. There’s also a gallery on the Dear Kate site, designed to “inspire a greater dialogue around the many emotions and varied experiences of first periods” by inviting visitors to upload their own “First Time” stories.

Credits:

Client: Dear Kate

Production Company: Process

Director: Mary Harron

Executive Producer: Tim Perell

Producer: Hannah Shore

Director of Photography: Luca Del Puppo

 

Editing Company: Final Cut

Editor: Ashley Kreamer

Executive Producer: Lauren Bleiweiss

Head of Production: Viet-An Nguyen

 

Post Facility: Significant Others/Final Cut

Audio Mix: T. Terressa Tate

 

Color: Sixteen19

Colorist: Andrew Francis

Senior Producer: Brian Reali

Conform Editors: Charles Leighton and Michael Roush

Music: Alistair Paxton