Advertising Agency: M&C Saatchi, Berlin, Germany
Chief Creative Officer: Bjoern Bremer
Creative Director: Christian Schuck
Art Director: Amer Khaled
Copywriters: Katja Seydel, Hannah Scherber, Bjoern Köbe
Photographer: Moritz Laube
Camera: Christian Datum
Producer: Anika Nagel
Executive Producer: Andi Schneider
Post Production: Lion Graf
Production: Embassy of Dreams Filmproduction
Published: July 2015
Advertising Agency: M&C Saatchi, Berlin, Germany
Chief Creative Officer: Bjoern Bremer
Creative Director: Christian Schuck
Art Director: Amer Khaled
Copywriters: Katja Seydel, Hannah Scherber, Bjoern Köbe
Photographer: Moritz Laube
Camera: Christian Datum
Producer: Anika Nagel
Executive Producer: Andi Schneider
Post Production: Lion Graf
Production: Embassy of Dreams Filmproduction
Published: July 2015
Advertising Agency: Zulu Alpha Kilo, Toronto, Canada
Creative Director: Zak Mroueh
Art Director: Shawn James
Copywriter: Sean Atkinson
Agency Producer: Tara Handley
Account Team: Robyn Morrisey
Strategic Planner: Brett McDonald
Production House: Suneeva
Director: Shelley Lewis
Production House Producer: Dennis Beier
Casting: Shasta Lutz
Video Post Facility / Editing Company: Saints
Editors: Melanie Hider, Brian Williams
Compositor / Online: Smith, James Andrews
Colourist/Transfer: Tricia Hagoriles / Alter Ego
Audio Post Facility/Music House: Pirate Toronto
Audio Director: Chris Tait
Producer: Colleen Murphy
Engineer: Jared Kuemper
Advertising Agency: Zulu Alpha Kilo, Toronto, Canada
Creative Director: Zak Mroueh
Art Director: Shawn James
Copywriter: Sean Atkinson
Agency Producer: Tara Handley
Account Team: Robyn Morrisey
Strategic Planner: Brett McDonald
Production House: Suneeva
Director: Shelley Lewis
Production House Producer: Dennis Beier
Casting: Shasta Lutz
Video Post Facility / Editing Company: Saints
Editors: Melanie Hider, Brian Williams
Compositor / Online: Smith, James Andrews
Colourist/Transfer: Tricia Hagoriles / Alter Ego
Audio Post Facility/Music House: Pirate Toronto
Audio Director: Chris Tait
Producer: Colleen Murphy
Engineer: Jared Kuemper
Advertising Agency: Zulu Alpha Kilo, Toronto, Canada
Creative Director: Zak Mroueh
Art Director: Shawn James
Copywriter: Sean Atkinson
Agency Producer: Tara Handley
Account Team: Robyn Morrisey
Strategic Planner: Brett McDonald
Production House: Suneeva
Director: Shelley Lewis
Production House Producer: Dennis Beier
Casting: Shasta Lutz
Video Post Facility / Editing Company: Saints
Editors: Melanie Hider, Brian Williams
Compositor / Online: Smith, James Andrews
Colourist/Transfer: Tricia Hagoriles / Alter Ego
Audio Post Facility/Music House: Pirate Toronto
Audio Director: Chris Tait
Producer: Colleen Murphy
Engineer: Jared Kuemper
Former Republican National Committee Chief Technology Officer Andrew Barkett has been a vocal critic recently of the party’s approach to data and tech. Now he’s running a new firm focused on analytics and the backend engineering necessary to make data work for campaigns, including that of GOP presidential hopeful Jeb Bush.
His biggest gripe about political organizations and their approach to tech: They hire people from politics.
Mr. Barkett, a senior engineer at Facebook before he joined the RNC in 2013, founded Digital Core Campaign in February and the company has operated in near-stealth since. Unlike what he describes as relatively slow-moving tech development operations at the RNC, he has patterned the new firm after the Facebook model of quick, small-scale application launches followed by a/b testing and rapid refinements.
For Nikkei Inc., Japan’s biggest financial news group, Thursday’s $1.3 billion deal to buy the Financial Times capped a lengthy pursuit of the pink-hued newspaper.
Eager to diversify outside of its home market and gain gravitas in the English-speaking world, Nikkei had approached owner Pearson Plc repeatedly over the past few years about buying the FT, only to be told the title wasn’t for sale, according to people familiar with the matter who asked not to be identified because the information is private.
Pearson fired the starting gun early in the summer, when the company put word out to potential buyers that it was prepared to sell.
Amazon is now the world’s largest retailer by market cap, dethroning brick-and-mortar goliath Walmart for the first time.
The Seattle-based company caught Wall Street by surprise in its latest quarterly earnings late Thursday, prompting a 16% spike in after-hours trading. For the second quarter ending on June 30, Amazon reported a $92 million profit, with gains of 19 cents per share, beating industry estimates of a 13-cent-per-share loss.
Amazon now has a market cap of $259.4 billion, surpassing Walmart’s by $27 billion.
Now, the pro-choice argument is the whole thing’s taken out of context and blown out of proportion, those “anti-choice,” knuckle draggers are trying to tell us what to do with our wombs, they want us to go back to the alley for our abortions, and charging for fetal tissue transportation is the normal cost of doing business. Nothing to see here, move along.
If you happen to be pro-life, it’s obviously a different story and confirms everything you suspected about where your tax dollars are going, and just how callous and grisly the people who work for an abortion factory are, as they sit there, turning body parts they’ve long since justified aren’t human, into cold hard cash.
What’s more interesting to me isn’t the politics, or the never-ending rabbit hole debate on your personal beliefs, but the above tweet from Planned Parenthood, which contains an embedded mic drop gif from Minions.
Planned Parenthood is in the news for some pretty appalling sounding things. Whether you justify them or believe them or not doesn’t matter. They sound pretty fucking horrific. Those sound bites coming from workers are so egregious in tone, Planned Parenthood apologized on behalf of of the person who said them. In the realm of PR and 24 hour news, this is a Big Deal™.
So it’s interesting to me the giant fuck-you PR tactic they took this morning on Twitter. They didn’t just to call a group of pro-life taxpayers and the candidates they support “Minions,” but they may also have infringed on copyright by posting a cavalier gif-from a children’s movie. We are talking Inception-layers of tone-deaf stupidity here. The creators of the Despicable Me franchise, Illumination Entertainment, is owned by Universal Studios. The same studio who, in a bit of a head shaker, just filed a DMCA notice on behalf of its own company for “pirating,” Jurassic World. Think about it, if Universal is so quick to file a DMCA takedown notice on their intellectual property, how do you think they’ll feel about an abortion organization posting gifs of its own movies to taunt people who were probably going to take their children to see the same movie?
Will Universal get involved? Will there be a boycott of Minions and the franchise by the pro-choice groups? Will Planned Parenthood fire its community manager after a “sorry if anyone was offended,” non apology? Or will they double down and make a gif of Disney’s Cinderella getting a safe and legal abortion? Place your bets, folks.
(TrendHunter.com) The Next Fall/Winter 2015 lookbook features top model Sean O’Pry who poses in a wardrobe of urban gentleman apparel. The styling for this catalog is elegant and classic, featuring a mix of…
“Visual storytelling” has become one of those hot, buzzy marketing concepts, but it’s nothing new: Human beings have been painting stories on cave walls for at least 35,000 years. When we use pictures, videos and graphics in marketing, we’re tapping into ancient biological machinery — and that machinery is very discerning.
The stack of data supporting the effectiveness of images is impressive. But the content itself — the quality of the story — matters more than the fact that it’s told in pictures.
If you wish to stand out in the Age of Distraction, you can’t create the visual equivalent of white noise. Being original is brutally hard work loaded with risk, but if you’re up for it, here are a few avenues to try:
YouTube has three top priorities: “mobile, mobile and mobile,” according to its boss Susan Wojcicki.
On Thursday, the longtime Google exec took the stage at VidCon at the Anaheim Convention Center in Anaheim, Calif. — think Comic-Con for the digital video crowd — to unveil a new look for YouTube’s mobile site and apps. In place of the existing single-screen design that features a curated feed of videos based on what people have watched as well as what channels they subscribe to, the redesign adopts a three-paned look that’s supposed to make it easier for people to find new videos to watch — and add to the time they spend watching YouTube, which is already up 60% year-over-year.
Now when people visit YouTube’s site or open its Android app — and soon on iPhone — they’ll see a new home screen that curates videos based on what people have watched, including organizing recommendations into playlists. A second screen will show the latest videos from the channels that people subscribe to, though if people really don’t want to miss a channel’s latest uploads they can now sign up to receive notifications when a new video is posted. And a third screen will house the playlists a person has created, videos they’ve watched before and the videos they’ve uploaded.
(TrendHunter.com) If you have anxious friends, these cards for anxiety will help them deal. Created by Anna Borges of Buzzfeed, the mock up greeting cards exemplify a range of issues people suffering from anxiety…
(TrendHunter.com) One of the most important things in the aftermath of a catastrophic event is making sure people’s basic needs are taken care of, which is what this post-disaster shelter is about. Created by…
Category: Beyond Madison Avenue
Summary: We love small business. In corporate and political America, you always have those people who swear that they too love small business, yet their actions reveal either the contrary or simply an ignorance of it.
​We enjoy viewing the content geared to the small business owner.
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