Hasta La Creative!

Today a source confirmed to AdAge that Vita Coco will follow Chobani and various other brands in dropping the creative AOR model altogether.

As the report notes, this is a loss for Saatchi & Saatchi, which signed a six-month deal with Vita Coco back in September.

A client spokesperson called that deal “the first time that we’ve worked with a truly global agency,” and it may be the last: a different spokesperson addressed the split with Saatchi by saying:

“…over the course of the last few months, it became clear Vita Coco’s global teams need more regional, tactical support…”

The client refrained from naming the “new agency partners” it will work with moving forward, of course, but the above statements strongly imply that the winners will be smaller than Saatchi, whose work for the client is not currently visible anywhere.

In February, Vita Coco also announced that it would look for a new creative agency to handle campaigns in the UK and Europe.

Good luck to whoever wins that pitch.

Saatchi & Saatchi, New York’s relationship with Vita Coco coconut water has ended after a very short run.

While the shop created the concept for a new campaign that will launch soon, the brand has decided to farm out the execution to several agencies located around the globe. As a result, Vita Coco will not be renewing a six-month agreement with Saatchi that began in July of 2014, according to the brand.

“We’re excited with the overall idea’s potential,” Jane Prior, Vita Coco’s executive VP for global brand strategy and development, said in a statement. But “over the course of the last few months, it became clear Vita Coco’s global teams need more regional, tactical support to deliver on Saatchi’s concept. For this reason, we’re mobilizing in-house resources and other agency partners to deliver the final campaign in multiple, international markets.”

Continue reading at AdAge.com

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Kansas City agency Barkley, which definitely did not commission an impressive “Creation of Adam” mural in its office last summer, hired longtime Deutsch veteran Jason Elm as its newest ECD.

He will join former CP+B ACD Berk Wasserman, who came to Barkley last July as VP/creative director, as well as VP/group account leader and fellow Deutsch alum Valencia Gayles. (Both moved to the Midwest in a mini-hiring spree during the Summer of 2014.)

Elm, who spent the last year and half as a freelancer in the San Francisco area with clients ranging from Google to Walmart, will officially become ECD on April 13th. In the new role, he will “enable and inspire all creative output for one of the nation’s largest independently-owned creative agencies,” which includes Target, Cargill, Spirit Airlines, Dairy Queen, and others on its client roster.

He will also work closely with Tim Galles, the former ECD/CSO who Barkley recently named its first “chief idea officer.”

Elm wrote copy for a couple of California agencies before joining Deutsch LA in 1998. He worked on Expedia and TGIFriday’s before helping the agency win the Sony PlayStation and Diamond Foods accounts and ascending to the EVP role.

Back in 2012, Business Insider mastered the grammatically awkward headline while naming Elm as one of its 37 creatives “most lusted after by rival agencies.” This diagnosis proved accurate: less than a year later, he left Deutsch for DDB California and wrote a guest post for us on “unplugging” at Cannes. The DDB gig ended up lasting less than three months, however, and led our readers to speculate on what caused the relationship to dissolve.

In 2014, Barkley CEO Jeff King told Kansas City Business Journal that he hires executives by positioning KC “as an advertising destination and an advertising market,” adding, “the city sells itself.”

The April 15 tax deadline looms once again, so as a friendly reminder, Minneapolis-based Fallon launched a new campaign for H&R Block that aims to light a tiny fire under the stragglers out there.

How better to remind late filers than to employ the services of Captain Sulu/Howard Stern vet/social media maven George Takei, whose trademark baritone lends an air of refinement and wit to something as dull as the tax code?

Takei stars in a total of five spots, which not only live on YouTube but also on his own social channels including Facebook (nearly 700,000 views and counting).

The usual bow tie-sporting H&R Block pitchman plays the foil to Takei’s shenanigans, whether he’s tanning while dropping science (above) or determining when someone actually turns 70.5 years old (below).

At this point, we’d rather just have Takei do our taxes for us — and despite the deadpan goings-on, the campaign probably won’t make anyone dread Tax Day any less.

Fallon

Chief Creative Officer: Jeff Kling

Creative Director: Patrick Figueroa

Art Director: Phil Jones

Copywriter: Charlie Kuhn

Chief Production Officer: Charles Wolford

Senior Producer: Erin Simle

Assistant Producer: Alexis Jones

Business Manager: Mona Morris

Group Account Director:  Marc Mason

Account Director: Anna Kelly

Account Supervisor:  Liz O’Reilly

Production: Supply & Demand

Head of Production: Jeff Scruton

Director: Matt Lenski

Producer: Ely Siler

DP: Rob Witt

Editorial: Fallon

Editor: Ryan Philippi

Producer: Matt Nelson

Post-Production: Pixel Farm

Designer: Jeff Stevens

Colorist: Dave Sweet

Lead VFX Artist: Kurt Angel

Audio Designer & Mixer: Ken Chastain

Executive Producer: Tammy Kimbler

If you saw a man drowning on social media, would you save him? That’s the metaphor at the heart of this bizarre ad for Mainpeople, a new Russian app designed to make charity more central to social media.

In the spot, half a dozen people stand on a dock watching and yammering while some poor guy flails around and swallows half the lake.

The cast of characters nicely skewers a range of clichés—there’s the paranoid conspiracy theorist, the smart-ass teenage boy, the cutesy teenage girl, the grown nerd spouting advice and statistics, the smarmy professor praising other countries, the indignant rich woman who blames the government.

Eventually, a sleazy contextual advertiser shows up and elbows his way into the conversation—flanked by two models in bikinis and rubber ducky life preservers (which are pretty awesome, I wouldn’t mind having one).

Nobody, though, can be bothered to actually lift a finger to help. And at the end of the parable, it’s clear, if not explicitly shown, that the victim actually drowns. (Though, in a clever bit of editing, an alternate reality shows the app quite literally saving him—someone pushes a button on it, and another man pulls him out onto the dock.)

The clip is, in a vacuum, amusing, playing on the perhaps too-obvious truth that there’s a lot of self-indulgent noise on networks like Facebook (and presumably VK), not to mention in a lot of the conversations anyone’s ever had about anything.

As for the apparent point—that people should be talking less and doing more to end suffering, broadly defined—it’s hard to argue the merits, but the mechanics are pretty fuzzy. There’s already no shortage of opportunities to donate to various causes via Facebook, for those who want them. Mainpeople’s website seems to suggest the app will streamline the process, making it easy to donate even when posting about unrelated subjects, and increasing the visibility of posts that come with a contribution (because it’s always smart to appeal to everyone’s vanity).

The brand’s name itself refers to people who are actually doing the heavy lifting of the charity work, and the app is supposed to let lazier types help simply by putting their money where their mouth is.

But even downloading another app seems like a lot of work.

CREDITS
Production: Stereotactic Moscow
Script: Pavel Karykhalin, Michael Lockshin
Director: Michael Lockshin
DOP: Ivan Lebedev
Executive producer: Pavel Karykhalin
Produced by Natalie Yurchenko, Lev Maslov
Composer: Oleg Karpachev

The mobile ad spending pie is set to reach $100 billion next year, according to a report by eMarketer.

This figure is more than a 400% increase from 2013, and it will likely double to nearly $200 billion between 2016 and 2019, accounting for more than a quarter of all media ad spending worldwide.

Continue reading at AdAge.com

Filme leva a assinatura da Rainey Kelly Campbell Roalfe/Y&R de Londres

Post originalmente publicado no Brainstorm #9
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Duncan McCall wants mobile location data to apply to all ad targeting — from direct mail to mobile and TV. Now, in addition to mobile, the CEO and co-founder of mobile location data firm PlaceIQ has addressable television covered. The company announced an extension of its work with Starcom MediaVest Group this week which takes PlaceIQ’s location data showing specific businesses people have actually visited and matches it to particular households through third-party matching partner Acxiom for set-top box targeting.

Many advertisers will want to use the offering to aim ads to people who have frequented rivals’ locations, suggested Mr. Duncan. For instance, a restaurant chain might target ads to people who in the past visited its locations but have been spotted eating with the competitor more recently.

“Hypothetically you should be able to apply this to direct mail, to email, to out-of-home,” said Mr. McCall.

Continue reading at AdAge.com

Ogilvy launched a new ad extending last year’s “Underwearness” campaign for Depend, which has seen competition from P&G’s Always Discreet, which launched last summer.

The new spot shows young women wearing Depend (without pants) while going about their daily business. “For the 51 million of us who may need a different kind of underwear, this is new Depend Silhouette Active Fit,” the voiceover announces. “It’s slim and smooth, so wearing it is no big deal.” The spot ends by offering viewers a free sample at underwareness.com.

While AdAge characterizes the ad as using sex to sell incontinence products, the women in the ad aren’t really sexualized. Rather, the pantslessness is meant to display that wearing the product is “no big deal” as well as showing off that Silhouette Active Fit looks more like typical underwear and allows more freedom of movement than these kind of products typically did in the past — all selling points for younger women who may feel embarrassed about bladder leakage.

“It’s a recognition that many women with bladder leakage worry that people can tell,” Liz Metz, brand director of Depend, told AdAge, adding that the spot is “recognition that one in three women deal with this issue, and they come in all shapes and sizes.”