Advertising Agency: Medina Turgul DDB, Istanbul, Turkey
Creative Director: Gökhan Erol
Associate Creative Directors: Ozan Can Bozkurt, Erdem Köksal
Art Director: Cihan Ery?lmaz
Copywriter: Levent Onur Özdo?an
Photographer: Kerim Ayhan Yan?k
Postproduction: Moonshot Production
Published: April 2015
Advertising Agency: Medina Turgul DDB, Istanbul, Turkey
Creative Director: Gökhan Erol
Associate Creative Directors: Ozan Can Bozkurt, Erdem Köksal
Art Director: Cihan Ery?lmaz
Copywriter: Levent Onur Özdo?an
Photographer: Kerim Ayhan Yan?k
Postproduction: Moonshot Production
Published: April 2015
Advertising Agency: Young&Rubicam, Shanghai, China
Creative Directors: Nils Andersson, Ong Kien Hoe
Head of Design: Bel Ong
Sennior Designer: João Pereira
Art Directors: Ong Kien Hoe, João Pereira
Copywriter: Adam Miranda
Illustrator: Andy Yang
Published: May 2015
Cheerios is urging girls to avoid dieting — the latest example of a marketer using female empowerment in ads.
A TV commercial debuting this week in Canada for Multi-Grain Cheerios features young girls who are bombarded with dieting messages in the popular media, which the spot derides as “Dietainment.” Viewers are then asked to sign a petition to “create a world without dieting.”
The ad, by Cossette, continues the brand’s anti-dieting messaging that began in 2013.
From Adbusters #120:
If you calculate
all gravitational forces observably in play in the universe, you can’t explain how it is that the stars and galaxies are organized as they evidently are.
Something must be exerting some kind of gravitational energy to keep things in place, but what that is has eluded detection by any and all human-made instruments.
It neither gives off nor reflects any kind of electromagnetic radiation.
Yet if scientific theories are correct, there must be a shocking amount of it: only five percent of the universe is what we think of as ordinary matter.
The rest is unfathomably dark.
Back in January, J. Walter Thompson announced the launch of Mirum, a “global digital and innovation network” that employs more than 2,000 in 40 offices across 17 different countries.
When the announcement went live, JWT named Dan Khabie, formerly of digital shop Digiteria, as its first North American CEO–and today he named JWT ECD Frederic Bonn as the new entity’s first creative director.
JWT’s New York office hired Bonn to run its digital creative team last January. He previously spent four years at Razorfish in GCD/ECD roles working on Mercedes-Benz, Uniqlo and Citibank–and before that he led the Ogilvy Interactive creative department in Paris.
The release tells us that Bonn will be “tasked with delivering transformative ideas” for Mirum clients, which include Rolex, HSBC, Qualcomm, Mazda, Nokia and (of course) many more. The key to his new role will be “deepen[ing] the consumer connection with brands” via our best friend, technology. As Bonn himself puts it, “Technology is, now more than ever, creating new consumer behaviors and expectations” and giving agencies new ways to help those customers figure out where to spend their money.
Bonn will remain in New York reporting directly to Khabie.
In its 110-year history, AA has seen just about everything. That’s the gist of adam&eveDDB’s new 60-second spot, entitled “We’ve Seen It All,” featuring some of the stranger real-life call-outs AA drivers have dealt with.
The spot opens on of these such events, a German armored carrier breaking down during a World War II reenactment, before steamrolling through a host of others. Among the other events are lost keys at a nudist colony, a car with two fronts and a rising tide encroaching on an ice cream truck. Beyond the entertainment value of the strange events, which viewers are informed are “Based on true stories,” they also illustrate the brand’s long history and in each case, AA shows up to make things right. The spot broke online today and will make its broadcast debut tomorrow, including during a showing of Heathrow: Britain’s Busiest Airport.
“This campaign is the largest marketing investment by the AA in over a decade and so is an incredibly exciting time to have joined the team,” Chris Harris, group marketing director, AA, told LBB. “The AA has not had any mainstream television advertising since 2007 but still has a heritage of great advertising. This campaign is a significant investment in our iconic brand. Working with adam&eveDDB will rejuvenate our brand and put a shine back on the AA badge.”
Credits:
Creative Agency: adam&eveDDB
Art Director: Steph Ellis
Chief Creative Officer: Ben Priest
Chief Strategy Officer: David Golding
Copywriter: Rory Hall
Creative Director: Aidan McClure, Laurent Simon
Executive Creative Director: Ben Tollett, Richard Brim
Planner: Nick Hirst
Media Agency: Starcom MediaVest Group
Planner: Elspeth Spelzini
Music and Sound
Song: Pizzicato Polka by Johann Strauss
Audio Post Production: Factory Studios
Offline
Editor: Art Jones
Post Production House: The Mill
Production Company: Outsider
Director: Scott Lyon
Tylenol is continuing its celebration of diverse families with a new commercial from J. Walter Thompson in New York featuring same-sex and interracial couples.
Titled “How We Family,” the ad is part of a broader effort to to challenge conventional—that is to say, conservative—definitions of family. Tylenol launched the campaign last fall by repurposing the classic holiday dinner scene in Norman Rockwell’s painting “Freedom from Want,” to profile contemporary families, including a lesbian couple who work closely with one woman’s ex-husband to raise the children from both relationships.
Sure, the tagline is a little clunky. And the cultural tides on LGBT issues have been shifting for a while now (a majority of Americans expect the Supreme Court to allow same sex marriage in the court’s imminent decision, and support it; brands have been increasingly open in embracing the LGBT community). So it’s a question of degrees as to how much Tylenol is pioneering, and how much it’s capitalizing.
But that also almost doesn’t matter. In a marketplace where some consumers still lose their minds over a Cheerios commercial with an interracial couple, and where the heads of reactionaries similarly explode over Tylenol’s decision to feature a same-sex couple in an ad, the brand deserves credit for using its ad dollars to spread a message that’s in exactly the right spirit … even with a desire to profit (and a considerable opportunity to do so) at the heart of it.
And while the topic might seem a bit far afield from the brand’s core business, it’s actually pretty appropriate for a product that makes pain go away.
Advertising Agency: Gitam BBDO, Israel
Chief Creative Officers: Shani Gershi, Danny Yakobowitch
Creative Director: Sagi Blumberg
Art Directors: Lena Shein, Eitan Cohen
Copywriters: Oded Nadir, Asaf Halfon, Yael Apfelbaum
Executive Client Director: Keren Bachar Amitai
Account Supervisor: Einav Tenzer, Adi Schechter
Account Manager: Liron Batito
Executive strategy Director: Hillel Geiger
Planning: Hilla Tamir
Executive Producer: Omer Kandel
Client advertising Executive: Chami Padan
Client Brand Manager: Avi Levi
Director: Eli Sverdlov
Photographer: Tobias Hochstein
Production company: Gustavo – Nadel Gustavo, Shir Enoch, Tair Mordeechai
Music: Tomer Biran
Published: May 2015
This summer, the Special Olympics World Games is coming to the United States for the first time in 16 years. Supporting children and adults with intellectual disabilities, the Games is the world’s largest sports and humanitarian event. To celebrate, The Coca-Cola Company, Founding Partner of Special Olympics, has assembled a star-studded team to record a unified song for the 2015 World Games, titled “Reach Up”. Fans can support Special Olympics by sharing the “Reach Up” music video on social media using the hashtag #ReachUp. Coca-Cola will donate one dollar – up to $100,000 – to Special Olympics for every “Reach Up” video share using the hashtag leading up to the World Games.
Mark Penn in September will leave Microsoft, where he has served as chief marketing and strategy officer, to start a company that will invest in advertising, research, data analytics, public relations and digital marketing companies.
Ex-Microsoft CEO, Steve Ballmer, is an investor in the company, called Stagwell Group, which will be based in offices at 1700 K Street, in Washington D.C. The company has already closed $250 million in investment capital, but it’s not currently accepting new investors, according to a statement. Currently he and Mr. Ballmer are the only investors and will build their team over the next few months, said Mr. Penn.
Prior to joining Microsoft, Mr. Penn served as CEO of WPP PR firm Burson-Marsteller and before that he was co-founder and CEO of Penn Schoen Berland, a market research and polling firm that eventually became part of WPP and Burson-Marsteller. He has been a senior adviser to political leaders including U.K. Prime Minister Tony Blair, Israeli Prime Minister Menachem Begin, Senator Hillary Rodham Clinton and President Bill Clinton.
McCann Amsterdam launched a new spot for Remia with the unfortunate title, “Old sauce in new bottles” (should have gone with “same sauce,” guys) featuring a remix of an old Rod Stewart song, implicitly comparing the aging singer-songwriter to old sauce.
The spot opens on a pool party scene, where one of the guests comments on the “new Remia” bottle. Then, for some reason, Stewart shows up, giving him the idea to remix his “Da Ya Think I’m Sexy?” with a modern twist in a moment of inspiration (although it sounds more mid-late 90s eurotechno than contemporary). Stewart is pleased, or maybe just drunk, and is soon dancing and clapping along. The spot ends with the tagline, “The Original Remixed,” which is a bit more appetizing than that “old sauce” line.
Le peintre américain Wayne Thiebaud, âgé de 94 ans, réalise, entre autres, des toiles de routes et de pentes raides avec une attention toute particulière portée sur les ombres. Les oeuvres sélectionnées ici figurent dans un livre édité par Rizzoli, disponible sur Amazon, et qui offre un beau panorama de son travail depuis 1950 à aujourd’hui.
(TrendHunter.com) The Disney Princess Minions series will allow fans to celebrate the upcoming film for the adorable yellow beings in true meme fashion. It mashes up the two beloved franchises in a hilarious way….
Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, a company that catalogs, tags and measures activity around TV ads in real time. The New Releases here ran on TV for the first time yesterday. The Most Engaging ads are showing sustained social heat, ranked by SpotShare scores reflecting the percent of digital activity associated with each one over the past week. See the methodology here.
Yoplait one-ups Mr. Ed with a talking animal that has a French accent in its latest spot. “Milk Cow” features a talking cow sharing Yoplait’s new recipe, which has 25% less sugar. Meanwhile, the latest spot from Krusteaz encourages us to “Seize the Happy” by trying one of its 10 pancake mixes.
And consider yourself warned: Grab a tissue before watching Toyota’s “My Bold Dad.” The emotional spot, which originally aired during the Super Bowl, ranked as the No. 5 most engaging and gets us in the Father’s Day spirit by reminding us all of why we love our Dad.
Although marketers continue to shift print budgets to digital media, most magazine companies still generate the bulk of their revenue from selling print ads. About 20% of Time Inc.’s ad revenue, for instance, comes from selling digital ads. But industrywide the shift from paper is underway, with digital ad revenue expected to overtake print by 2019 — the result of both swelling digital budgets and shrinking print outlays, according to a recent PricewaterhouseCoopers report.
Bonnier, publisher of nearly three dozen special interest titles like Scuba Diving, Field & Stream, Savuer and Popular Science, is an active participant in the industry’s transformation. The company, part of the Swedish media conglomerate Bonnier AB, generates about 25% of its revenue from digital, according to Eric Zinczenko, who was named Bonnier CEO this week.
Mr. Zinczenko — brother of former Men’s Health Editor-in-Chief David Zinczenko, who now runs his own editorial consultancy Galvanized — succeeds David Freygang, who spent more than 25 years at Bonnier. In his new role, Mr. Zinczenko plans to accelerate the company’s digital drive.
Ogilvy & Mather today announced that its Global Chairman and CEO Miles Young will step down next year to become warden of his alma mater, New College at Oxford University.
His new appointment will be effective September of 2016.
Mr. Young, 61, has spent 32 years at Ogilvy & Mather, starting in the London office. He became chairman of Ogilvy & Mather Asia Pacific in 1995, where he spent 13 years. He assumed the role of Global CEO in 2009 and his current role of chairman in July 2012.
Multiple sources tell us that WPP Group will officially announce executive changes at Ogilvy & Mather this afternoon. We do not have all the details at the moment because no one within the Ogilvy or WPP organizations has commented to us directly.
The most prominent news concerns Ogilvy Global CEO Miles Young, who joined O&M way back in 1982 and succeeded Shelly Lazarus as global chief executive in 2008 (she is currently chairman). As we hear it, the word will be that he is “stepping aside.”
It would appear, based on an announcement from New College at Oxford University, that Young will move to England to be Warden of Fellows of New College and leave the advertising industry entirely.
In March 2013, Adweek’s Noreen O’Leary profiled Young as a man “busy reinventing a troubled agency.” He was first approached for the chief executive role by Martin Sorrell in 2007, when he ran Ogilvy’s Asia-Pacific operations.
No word at the moment on who will replace Young and/or whether his departure will be accompanied by other staffing changes.
Global CMO Lauren Crampsie, promoted to that position more than three years ago, has yet to respond to our requests for comment on the news.
Updates, obviously, to come.
Last September, when Panera Bread named Anomaly its lead creative agency it mentioned that an idea pitched by the agency was being developed into a full campaign, expected early this year. Now, a few months later than expected, that campaign has arrived in the form of “Food as it should be” which positions the brand as dedicated to providing customers with a healthier option free of artificial ingredients.
The agency introduces the tagline and brand mantra in the 60-second “Should Be,” which opens with the simple line, “Food should be good.” Elaborating on the line, the spot claims “Good bread makes a sandwich,” “Good soil makes a salad,” while lettuce should be dirty and dressing clean. It addresses artificial ingredients with the line about dressing, as well as “Sweet should never be fake.” The voiceover comes amidst casual shots of people enjoying Panera products, including students, young urban dwellers and families. “We’re not saying these are the rules we should all live by,” the spot concludes, weary of getting too preachy, “but it’s a good place to start.”
A pair of 15-second broadcast spots, “Celebration” and “Sweetness” elaborate on the anthem ad’s dedication to “goodness,” promoting the chain’s salads, which are free of artificial “flavors, colors, sweeteners, preservatives.” The approach touts Panera as a healthy option without calling out its competition directly, but it is clear that the brand’s values are presented as a better alternative to traditional fast food. Broadcast spots are supported by radio, print, OOH and online ads, including “A Conversation with Ron,” referring to CEO Ron Shaich, who talks at length about what his company stands for.
“We’re not trying to be someone’s mother, telling them what they should or shouldn’t do. We have no desire to do that,” Chris Hollander, Panera’s head of marketing, told Adweek. “We simply want to say, ‘Look, this is what we believe. … If you share our values and share that philosophy, then yeah, come on in. We have some great options for you.’”
Credits:
Client: Panera Bread
Campaign: “Food As It Should Be”
Agency: Anomaly, New York
Executive Creative Director: Eric Segal
Art Director: Rebecca Johnson-Pond
Copywriter: Simon Philion
Creative Directors: Andrew Curry, Keiji Ando
Head of Production: Andrew Loevenguth
Senior Producer: Katherine Cheng
Music Supervisor: Jonathan Wellbelove
Account Director: Keiko Kurokawa
Project Manager: Milisava Tertovich
Production Company: Workhouse Projects
Director: Ben Quinn
Director of Photography: Jeremy Rouse
Executive Producer: Roger Zorovich
Line Producer: Salli Zilles
Editing House: Cut & Run, New York
Editor: Akiko Iwakawa
Executive Producer: Rana Martin
Producer: Ellese Jobin
Colorist: Fergus McCall/The Mill NY
Audio Mix: Tommy Jucarone, Rob DiFondi at Sound Lounge
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