Advertising Agency: Cheil, Madrid, Spain
Executive Creative Director: Breno Cotta
Copywriters: Isaac Maroto, Cristina Alonso
Art Directors: Diego Rodriguez, José Venditti
Production Company: Jabuba Films
Published: May 2015
Advertising agency: The 23, Krasnogorsk, Russia
Creative Directors: Evgeniy Shinyaev, Mikhail Tkachenko
Technology Director: Alexander Selifonov
Account Supervisor: Vera Kriulets
Director Of Photography: Nikolay Shinkarenko
Technical Assistant: Valeriy Oreshnikov
Published: October 2014
David Letterman drew his largest audience since December 2005 in his final show as the reigning late-night host on CBS.
The “Late Show with David Letterman” produced a preliminary rating of 9.3 among local stations, outdrawing even prime-time telecasts on Wednesday, the network said in an e- mailed statement.
Each rating point equals 1 percent of the 116.4 million U.S. TV households. Mr. Letterman’s guests on Dec. 1, 2005 were Oprah Winfrey and Bonnie Raitt, when the show garnered a rating of 10.1. CBS will report updated ratings later Thursday.
She drinks chocolate milk as a recovery drink. Yep. Backed by more than 20 scientific studies, “lowfat chocolate milk has high-quality protein to build lean muscle and nutrients to help muscles recover after strenuous physical activity”, they say. And while we all know Milk Does A Body Good, the market for recovery drinks has forgotten about the natural one. (Are there unsweetened version of this out there? We’re trying to avoid sugar over here.)
“What you do on the field can only be a positive if you take care of what you need to off the field and that means recovery and refueling,” said O’Hara. “I first st.arted drinking chocolate milk to refuel in college when one of my assistant coaches said there were studies that proved that lowfat chocolate milk was great for recovery, so after practice we would get out two big gallons and drink it together as a team.”
O’Hara joins a team of elite athletes who make chocolate milk their recovery drink of choice, including professional basketball player Kevin Love and IRONMAN® Triathlon Champions Mirinda Carfrae, Craig Alexander and Luke McKenzie.
“An unwavering passion for her sport, a winning attitude and her determination make Kelley an incredible role model,” said Miranda Abney, Marketing Director at the Milk Processor Education Program. “Much like Kelley inspires those around her, she also inspires us and we’re excited to celebrate her story. The new campaign showcases her training and recovery that is BUILT WITH CHOCOLATE MILK, also going a step further to give soccer fans an inside glimpse into who Kelley is both on and off the field.”
DDB Canada launched its first campaign for Volkswagen Canada, after picking up the account from Red Urban last September, entitled “Unforgettable.”
The campaign highlights the Volkswagen driving experience as “Unforgettable” with two spots, “Prom” and “Driving Test.” In “Prom,” the agency highlights the amount of control in the Tiguan SUV by showing a protective father able to stop his daughter’s date from leaning in for a kiss by stepping on the gas. “Driving Test” focuses on the Jetta, with a test instructor so impressed by the car’s features he doesn’t notice how bad the student is driving. The broadcast ads are currently running with slightly different intended audiences; “Prom” is supported by an NHL Playoff sponsorship, while “Driving Test” is running on specialty networks.
“Our research showed while many people know the [Volkswagen] name, they don’t have a great understanding of each of the models and what they have to offer,” Rob Sturch, creative director at DDB Canada, explained to Marketing. “Part of our task was to re-familiarize people with the Volkswagen experience. That snowballed into conversations about all the ways VW has been unforgettable – in their product and as part of culture. It was a perfect match for the brand.”
Dans sa série nommée « Veterans », le photographe Sasha Maslov dresse le portrait de vétérans de la Seconde Guerre Mondiale. Sur son site Internet, les récits des protagonistes accompagnent leurs portraits. Une leçon d’histoire originale qui nous expose au point de vue de l’époque suivant le pays d’origine et l’histoire personnelle du modèle.
Grant’s Signature et l’équipe Fubiz organisent une nouvelle soirée à Paris. Celle-ci sera basée sur 10 idées imaginées par la marque de whisky pour son Signature Bar et aura lieu dans un lieu inédit. L’ambiance sonore sera assurée par trois DJ sets proposés par les DJ Dabeull, Fire Emoji et une partie de l’équipe Fubiz.
Dabeull sur Soundcloud
Fire Emoji
YouTube is tweaking its commercials to be more like interactive infomercials.
A month after YouTube added interactive cards to its skippable TrueView ads, retail advertisers can now use those card overlays to include product information, images and links to purchase a product on a brand’s site. They can also use these ads to remarket to people who may have checked out a product on a brand’s site without checking out.
Unlike parent company Google’s reported plans to outfit its search ads with buy buttons, people won’t be able to buy an advertised product on YouTube. They’ll still have to go to an advertiser’s site to make a purchase, but YouTube’s senior product manager Lane Shackleton said the new ad format makes the path to purchase shorter.
Two weeks after Omnicom’s GSD&M and LatinWorks partnered to launch Hispanic agency Sibling, MDC Partners is making its own move, setting up Cultura United Agency with Doner, another MDC shop.
MDC is positioning Cultura as a “cross-disciplinary marketing firm uniting specialized full-service advertising and public relations expertise with deep insights across Hispanic, African American and Asian audiences,” according to a statement.
JC Penney is a Doner client in the general market, which will lead to some related Spanish-language work for the new unit. Independent shop Grupo Gallegos remains JC Penney’s Hispanic agency of record. Cultura, which will have 10 people and be based in Los Angeles, will also work with cosmetics company Jafra, a recent Doner win.
The majority of musicians are going through periods where they are destitute. It’s amazing to me that people, especially some of my friends in advertising, keep answering this glaring problem with “better get used to it.” As problem solvers, finding a way to ensure our culture thrives seems like a problem worth solving. Yet very few even want to see it as a problem.
Whatever gains that might have been made by TIDAL, a good-on-paper artists-first, artist-owned idea, have been destroyed by egos as well as management issues. In just a few short months, TIDAL should have already been a beacon on a digital road filled with robber barons. Instead, it’s already on the defensive.
And that’s just my problem.
While a lot of Jack White’s defense of TIDAL yesterday was sensible, it stupidly brought the whole conversation back to the big guy’s money. As if we’ve learned nothing from Lars Ulrich and Napster.
The series of questions Jack White chose to respond to come directly from his Vault subscribers as well as from Facebook Fans. I have no issue with Jack White, a famous person, speaking for the little guy. He once was the little guy, so he knows what it’s like. A lot of musicians see him as an inspiration, and well they should. A lot of his answers to these questions were spot on. TIDAL’s purpose is to support artists, get the indie and little heard ones out there as much as the big names. Here’s a great example of how to frame the conversation.
I think TIDAL is great for the fact that it will get more money to artists. After reading how little Pharrell from Pandora streaming off of one of “Happy.” Really made me realize how little musicians just starting out must be making, when Pharrell only made $2700 off of something like 43 million plays
Jack: Yep, whoever started the model of making a website that gets paid by big advertisers (Youtube) and does not pay that money to the artists GENERATING the interest. Makes no sense to an artist trying to survive.
But then there’s this question and answer at the end…
Sorry Jack, but I have 0 interest in making JayZ more money, and I don’t understand how Jack could be involved in this awful business model. Totally screws the fans, I thought he was a bit above that. How much money does he need?
Jack: A streaming service owned by artists is the first step, it’s not about the rich getting richer. it takes artists that can get peoples attention to be able to make a scenario possible for those artists that don’t have a voice to get in a position where they aren’t struggling, and believe me third man records is full of artists the mainstream’s never heard of and have no voice or power in the system. have you heard of Rachelle Garnier? what about the Smoke Fairies? Drakar Sauna? Pujol? The Gories? Those are just some of the up and coming artists on third man that try to make a living in music. And if you stream their songs… they get paid for it. And they get to LIVE and not take second jobs….and make MORE music! I support keeping musicians you love in business. We want a full third man roster page on tidal that you can stream hundreds of records on, and each time that artist gets something. that’s a beautiful thing.
And also… do we tell Steven Spielberg we don’t need to pay him anymore to watch his movies? He’s made enough off of us right? He should show his new films for free right? haha
That last sentence lost the argument and I’m afraid, will now become a sound bite for those who like the status quo. With Occupy Wall Street still fresh in peoples’ minds, and people marching in the streets for a higher minimum wage bringing to mind the fact Steven Spielberg is worth nearly 3 and a half billion dollars is precisely where the conversation should not end up. And by the way, the same big tech companies who rip off musicians are enabling people to pirate movies, too.
My point is: Yes, it’s important for musicians to get paid. Yes, it’s important to ensure they, like the McDonald’s hamburger flipper, can make a living wage. In a sense it is the same struggle. But we shouldn’t let the very few mega success stories in music overshadow the thousands upon thousands of talented musicians who aren’t able to pay the bills. The best way to do this is to drop the money argument once and for all.
This of it this way: Lack of money is a symptom. The larger problem is that soon the best parts of culture will disappear. Artists will not just “get used to it.” They’ll stop creating. There’s proof it’s already happening. Stop talking about the big guy and his money. Start framing the argument in different terms. People will never truly understand what they are losing until then.
Web hosting company GoDaddy, which Kantar Media claims spends around $24.7 million on measured media in the U.S., has launched a review in search of a global brand agency partner. It is unclear if incumbent Barton F. Graf 9000 will participate in the review and Phil Bienert, GoDaddy’s chief marketing officer, told AdAge, “We are still finalizing the list.”
The review comes roughly four months after GoDaddy decided to pull a controversial Super Bowl spot following online backlash. While some questioned whether the stunt was planned, the company insisted the response was completely unexpected. GoDaddy, of course, built its brand on outlandish Super Bowl ads, which were universally loathed enough to merit a “Dear GoDaddy, Please Stop” op-ed from Woods Witt Dealy & Sons partner/creative director Harry Woods in 2013. Last month, GoDaddy chose not to renew its sponsorship of Danica Patrick, who starred in many of the company’s Super Bowl spots, another sign that the GoDaddy is changing its marketing approach. Barton F. Graf 9000’s most recent ads for the brand featured Jon Lovitz taking a CGI beating.
“We felt the time was right for us to be looking for a global agency partner to take our brand global,” Bienert told AdAge. “The criteria are that agencies have global scale, that they have a presence doing brand advertising in multiple markets — not just in North America but in Asia Pacific, Latin America and Europe – and that they understand our brand and our mission.” He added, “We’re ready to push beyond simple brand campaigns that revolve around a 30-second TV commercial and leverage our distinctive small-business data platform as a key ingredient in our brand marketing.”
Cheil UK has appointed Catherine Davis as the agency’s chief growth officer for the UK and Europe, responsible for “driving business growth across Europe with a specific focus on the UK market.” She will report directly to Cheil UK chief operating officer Matt Pye. The hire follows the appointment of Cheil UK’s president global chief growth officer, Lotta Malm-Hallqvist, in January.
Davis arrives from Grey London, where she has served as chief marketing officer since October of 2013 and new business and marketing director since 2009. Before joining Grey, Davis was marketing and PR director for CHINA NOW, “the largest festival devoted to China that the UK has ever seen.” She has also worked as a board account director for RKCR/Y&R and Burkitt DDB, a communications director for Leo Burnett/Magellan and senior account manager for TBWA.
“Cat’s new business record at Grey speaks for itself. She’s a phenomenal appointment, and follows hot on the heels of Lotta Malm-Hallqvist as global growth officer,” said Pye. “This underlines Cheil’s ambition to secure rapid growth with high-quality clients. It’s a really exciting time to be part of the Cheil network.”
Twitter Chief Financial Officer Anthony Noto confirmed Wednesday that he is running the company’s marketing department — a move that has mystified people in the media and marketing world since it was first reported weeks ago.
Mr. Noto told investors at the JP Morgan Global Technology, Media, and Telecom conference in New York why he’s taken on this additional role. Twitter’s board wants to elevate the “importance of marketing as a key component of everything we do but marketing really needs to permeate product, it needs to permeate content and it needs to permeate media and it’s a really huge opportunity in front of us.”
The decision to put Mr. Noto in charge of marketing raised questions because finance guys aren’t typically associated with marketing savvy. “Marketing is just not something a CFO is trained in,” Kevin Keller, a marketing professor at Dartmouth’s Tuck School of Business, told Ad Age recently. “They don’t have the instincts or experiences.”
If you’re looking for a job or to hire an employee, LinkedIn is the leader by a mile. But LinkedIn is evolving. The professional social network is pivoting toward digital advertising and lead gen with the recent launch of a digital ad network. This has b-to-b marketers excited, and for good reason. LinkedIn’s arrival in the space represents a strong move that could influence the programmatic revolution in a big way. But before b-to-b marketers shift the lion’s share of their budgets to LinkedIn, they should ask if LinkedIn’s closed approach is best.
With a massive user base and deep data to draw on, LinkedIn could be a hero in a strong field of b-to-b data companies that already includes standouts like Hoovers, Salesgenie, and Marketo. LinkedIn, more than any other company, has the potential to marshal the b-to-b programmatic market, return premiums to publishers, and deliver precision and collaboration to targeting. On paper, LinkedIn has everything it needs to succeed in this space, but in practice there are pitfalls ahead, because lasting revolutions in technology cannot live inside a silo.
When LinkedIn bought Bizo, a b-to-b ad technology and data firm, one of its first moves was to discontinue Bizo Data Solutions, which provided business data to publishers and marketers. And while LinkedIn now provides the ability to market outside its network across the web, marketers aren’t able to layer first-party data on top of LinkedIn’s data, which limits the ability to self-initiate traditional programmatic media buys.
Twitter’s ad team will do just about anything to win over Madison Avenue — going so far as to build new products or craft marketing campaigns for clients.
Yet ad agencies still devote most of their ad budgets to Facebook Inc. and Google Inc.
Last year, Heineken wanted to distribute Twitter ads on other websites during the European Football League championships — a service that wasn’t yet offered — so the company built technology to accommodate the beermaker.
The Rand Paul campaign wasted no time in capitalizing on hype yesterday around his marathon filibuster on the Senate floor. As the Kentucky Republican continued his hours-long discussion about provisions of the set-to-expire Patriot Act, the Rand Paul for President digital team ran online ads pushing supporters to “Add your name to Rand’s Patriot Act filibuster today!”
Meanwhile, the campaign asked fans to tweet photos of themselves watching the filibuster on C-SPAN including the #StandWithRand hashtag. It also asked Twitter followers to Text the word “Filibuster” to 97063. That resulted in a responding text linking to a mobile signup requesting name and email.
This week, Alibaba hosted a lovefest (er, conference) for women entrepreneurs. Executive Chairman Jack Ma gushed about how women are more loyal, resilient, persistent, considerate and selfless than men. One audience member asked him for a hug; another gave him flowers.
The Chinese internet and e-commerce giant has been trying to be more international, and it appears to be casting itself as a global role model for the tech industry on the issue of hiring women and encouraging their entrepreneurial aspirations.
As Alibaba’s first “Global Conference on Women and Entrepreneurship” opened Wednesday in Hangzhou, China, the company posted an infographic: 40% of its employees are women, as are 35% of management. It boasted of creating a nationwide wave of women’s entrepreneurship, since 51% of sellers on Alibaba’s massive eBay-like Taobao platform are women.
This week we hear that Publicis Kaplan Thaler, born when Kaplan Thaler and Publicis New York merged in 2012, has nearly completed its rebranding and will soon go by either Publicis North America or its original name.
We don’t have much in the way of details because Publicis has not responded to our queries. The rumor has been floating around for some time, though. In late 2014, we received a series of tips claiming that the agency’s three offices would consolidate into the location at 1675 Broadway, that an official name change would follow, and that staffing shakeups were in the works.
The last part turned out to be accurate: three weeks after that post ran, President and CCO Rob Feakins stepped down. He has not yet been replaced, and Publicis never directly responded to questions about the rest of the story.
The best evidence we have to indicate that the renaming rumor is true: on PKT’s official Publicis homepage, the “click to learn more” link (as well as the original pkt.com URL) now leads right back to Publicis NA. The official Publicis North America Twitter account has also begun using the #PublicisNewYork tag again for the first time since late 2012, right after the initial merger.
All signs indicate that the office–whatever its official name–will continue to be “the U.S. flagship agency for the Publicis worldwide network,” which recently won Cadillac.
La célébration de « Las Mayas » a eu lieu le 10 mai 2015 dans les rues de Madrid afin de célébrer le printemps. Pour ce faire, des filles âgées de 7 à 11 ans ont été choisies comme « Maya » et ont dû rester assises sur un autel orné de fleurs pendant deux heures pour ensuite aller à l’église et assister à une cérémonie en famille. À découvrir à travers les photos de Daniel Ochoa de Olza.
BETC Paris a demandé au photographe Jean-Yves Lemoigne de réaliser les photos de leur nouvelle campagne toujours axée sur la signature du « Live Young ». Il a donc imaginé des diptyques qui coupent le corps d’un bébé en y ajoutant des jambes d’adultes. Cela donne des images amusantes et attendrissantes.
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.
