Hasta La Creative!

Advertising Age today announced several promotions of its longtime editorial talent. Ken Wheaton becomes editor in charge of all editorial operations for the brand. The editor role had been vacant since January 2014.

Mr. Wheaton, who joined Ad Age in 2000, has been managing editor and a regular columnist since 2012 and was the founding editor of Small Agency Diary, developing it into an annual conference and awards program taking place in Boston later this week. He is also the author of three novels: “The First Annual Grand Prairie Rabbit Festival”; “Bacon & Egg Man”; and “Sweet as Cane, Salty as Tears.”

“Ken is a talented editor with the perspective and depth of knowledge Ad Age needs as we continue to help our audience make sense of the quickly changing marketing landscape,” said Rance Crain, Ad Age editor-in-chief. “We are very happy to see him move into this new role as leader of the Ad Age editorial team.”

Continue reading at AdAge.com

Um artista chamado Brian Kane alugou dois outdoors digitais numa rodovia do estado americano de Massachussets. No lugar de colocar anúncios como já são de praxe neste tipo de mídia, Kane fez algo diferente: exibiu neles o que estava ao redor dos painéis,sejam as árvores durante o dia ou a lua e as estrelas durante […]

> LEIA MAIS: Artista aluga outdoors para não mostrarem propaganda

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While ThreatKing said he took no issue with the cover story, some, including Wired Magazine’s Emily Dreyfuss, believe that the hacking follows a tradition of “victim silencing” long faced by sexual assault survivors:

… it reeks of victim silencing. For 35 women to come out and accuse one of the entertainment industry’s most powerful men of repeated sexual abuse is an act of defiance against a history of systemic silencing. Whether the alleged DDoS attacker knew it, by taking the story offline he is following in a grand tradition of keeping women’s stories from being heard — a tradition the story itself is trying to break.

New York used social media to counteract the site’s crash, promoting the story by posting excerpts from the audio recordings of the interviews with the women to Instagram. In addition, it’s published the entire piece on Tumblr.

Continue reading at AdAge.com

Adam&eveDDB and Glue Society director Gary Freedman made this British spot for Australia’s Foster’s beer about, of all things, a male rugby cheerleader. The ad is part of a growing trend of faux-documentary ads about people with quirky jobs, though it’s also a throwback to ’80s- and ’90s-style beer ads. (The beer commercial may be the last safe-ish haven for gender jokes like this.)

The male cheerleader here isn’t all that weird, even though he looks like Jack Black’s trash-eating hobo cousin, but he has to put up with ridicule from his parents and unceasing awkwardness at work as the only dude on a cheerleading team full of women. His uniform chafes, too. Still, he has found success on his own terms, and is functional enough to drink in a bar with other normal humans. The “He’s one of us” tone is essential to ads like these.

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The most noteworthy thing here, aside from the cheerleader’s Zoolander-esque uniform, is Foster’s new slogan, “Why the hell not?”, which seems a trifle fatalistic for a consumer product. They might as well snipe from Hot Shots and go with “Foster’s: No one lives forever.”

There are lots of ways to make billboards more appealing. You can turn them into art. You can make them into homes or playgrounds. You can get them to help the environment. Or you can just completely white them out.

The latest response to billboard blight? Seamlessly blending them into their surroundings.

That’s what artist Brian Kane did over the past month with “Healing Tool,” a project that took over two digital highway billboards in Massachusetts. Healing Tool is a Photoshop tool that allows you to clone areas of an image to patch over other areas. Kane mimics that process here by making the board space look like its surroundings—trees in the daytime, moon and starscapes at night.

“The goal is to provide a moment of temporary relief and unexpected beauty during the daily grind of commuting,” Kane writes on his website. “During the day hours, a series of images from the specific location are shown on the display. We replace the missing background and create a magic dimensional window. A dynamic motion parallax effect occurs as the vehicle passes the location.

“During the evening hours, high-resolution images of the moon are shown. Synced to the daily phase, people can view the moon despite the effects of urban light pollution. An image of the Milky Way is shown on new moon night.”

The changing images give drivers “something to look forward to: a curious and abstract narrative over time,” says Kane, adding that the project is a form of “unvertising.”

“By removing the marketing message from the advertising space, we create an unexpected moment of introspection,” he says. “People are allowed to interpret an image based on their own experience, and not necessarily with the singular focus of the advertiser’s intent.”

The project wrapped on Sunday after a month. More images and a video below.

Via Osocio.

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> LEIA MAIS: Websérie mostra como é trabalhar no Google

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