Yatra.com: Budget Travels


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Yatra.Com

A set of three print layouts was created. The idea behind this creative campaign was inspired by a simple insight that when on a budget, one tends to look for cheaper and easier options to draw the maximum benefits. To creatively showcase the solution, we drew our inspiration from wild birds and animals. We chose three animals, hippo, rhino and water buffalo and three birds. As we all must have seen, or come across, certain species of birds sit on some animals and peck on their backs. They do so because they feed on ticks and insects which stick to the skin of the animals. These little insects are foods for the birds. Apart from getting free meals, these animals also become a place for the birds to take some rest. In short, these animals not only offer the birds a well-earned rest but also an easy and convenient place to find their food without having to hunt for them.

Advertising Agency:McCann, Mumbai, India
Creative Director:Subhashish Datta, Navajyoti Pegu
Art Director:Rahul Dutta
Copywriter:Jyotirmoi Deb
Illustrator:Leandre Hounnake

Ariel: Forever Colour


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Ariel

Advertising Agency:Saatchi & Saatchi, Dubai, United Arab Emirates
Executive Creative Director:Richard Copping
Art Director:Daniel Botezatu
Copywriter:Jeton Morina
Account Director:Hamid Naqvi, Emaad Khan
Photographer:Daniel Botezatu
Production Manager:Ali Zayat

GMC "Sharp" (2015) :30 (USA)

GMC is sharp, like a haircut in a fancy schmancy place or a handmade tailored suit. Also, black and white, helps. I mean, it’s an SUV that starts at $47,000 and goes up to $67,000 so style and fashion statements are probably the way to go ?

Jerry Weintraub, a Force in Film and Music, Dies at 77

Mr. Weintraub’s career touched musical entertainers as grandly diverse as Elvis Presley and Led Zeppelin, and films like “The Karate Kid” and the “Ocean’s Eleven” casino heist trilogy.


BMWs That Can Buy Morning Coffee Tempt Apple, Google to Road


Cars in the next few years will be able to find the fastest route for the morning commute as well as order coffee, pay for it and guide the driver to pick it up.

This transformation of the auto into a full-service mobile device adds up to a potential goldmine. Revenue from the data streams and connectivity components could become a $200 billion market by 2020, McKinsey & Co. estimates. That’s a rich target for Apple and Google, and automakers are fighting for a claim as well.

Instead of just producing transport hardware, “we have to get into the service industry in a larger way,” Tony Douglas, head of strategy at BMW AG’s mobility services unit, said to a roomful of executives at a recent conference in Munich.

Continue reading at AdAge.com

German Brewer Touts Origins in Ad Poking Fun at A-B's Beck's


German beermaker Warsteiner is having some advertising fun at the expense of rival brand Beck’s.

The closely-held company put up a digital billboard in New York touting its German credentials after Anheuser-Busch InBev was accused of watering down the origins of its own Beck’s.

“Warsteiner. Premium German Beer From, You Know, Germany” is the slogan on a 15-story-high digital billboard on the corner of 46th Street and 7th Avenue in New York’s Times Square.

Continue reading at AdAge.com

Amazon Celebrates 20th Birthday With Bid to Drive Prime Membership


Amazon is celebrating its 20th anniversary with a global bid to drive Prime subscriptions. The e-tailer is introducing a new shopping event on July 15, called “Prime Day,” which it says will offer more deals than Black Friday, exclusively to Prime members.

Almost since its inception, Amazon has been a trend setter in the e-commerce space, and has influenced the evolution of the Black Friday and Cyber Monday shopping holidays in recent years. “Prime Day” could start a new trend, or other retailers may try to time their own promotions to the event.

“I have no doubt that there will be thousands of companies tryng to jump on the coattails of Amazon and take advantage of the fact that there will be a whole bunch of people shopping online on July 15,” said Ms. Mulpuru. “Maybe they can get some of the drippings from the table.”

Continue reading at AdAge.com

Is Most Recent Reddit Scandal a Red Flag for Marketers?


Ellen Pao, interim CEO of Reddit, issued an apology in r/announcements today in response to backlash that erupted after the firing of an employee.

The commotion began with the departure of Reddit employee Victoria Taylor, who managed the popular Ask Me Anything (AMA) subreddit. Tension built over the weekend, culiminating in 300 subreddits going private to protest the dismissal. By this afternoon, a petition calling for Ellen Pao’s resignation had gathered 187,000 signatures, 13,000 from its goal of 200,000.

Ms. Pao’s apology cited miscommunication and a “long history of mistakes” before proposing three steps: improved tools, a new moderator advocate and access to an older search function.

Continue reading at AdAge.com

Women’s World Cup Final Was Most-Watched Soccer Game in United States History

The final between the United States and Japan attracted an audience of 25.4 million viewers, peaking at 30.9 million late in the match.


Orson Welles’s Last Film Hits a Bump in Production, but Project Continues

The producers behind an effort to finish “The Other Side of the Wind,” Welles’s incomplete final film, are exploring other options.


Silvercup Studios Building Production Complex in the Bronx

Silvercup, based in Queens, announced it was converting a Bronx warehouse into a 115,000-square-foot complex for film and television productions, scheduled to open in June 2016.


Music Publishing Deal Driven by Shift From Sales to Streaming

Sesac, a boutique music rights group, is purchasing the Harry Fox Agency, a move that will allow it to collect fees both when songs are played and when they are sold.


Resisting the "sharing" economy

Under the guise of “innovation,” capitalism creeps into our personal relationships, networks and community.

by

From Adbusters #120: Manifesto for World Revolution PT.III

He’s helped you a lot in the past and you don’t think twice about saying yes.

When the day comes, you pick him up in your car and drive together, alternating between chatting and singing along, badly, to the radio. You drop him off at the gate, give him a hug and wish him well on his trip. He offers to pay for gas, but you shake your head and say he can cook you dinner when he gets back instead. He smiles and takes his bag into the terminal. You wave and get back into your car.

You come to that dinner a few months later. The smell of food fills his apartment. As you wait for the dish to finish in the oven, he talks about his trip: all the places he went and the people he met. He said that a friend of someone he met there has been backpacking in this area and will be staying on his couch for a week or two. It was the least he could do, he said, after they treated him so well when he was there. A timer goes off and your friend goes to the oven to remove dinner. About an hour later, you’re both stuffed and, looking at what’s left, realize that he probably made way too much food. A conversation about food waste bubbles up and soon your friend gets an idea.

Your friend knocks on his neighbor’s door while you hold the tin of way-too-many leftovers. The neighbor opens up and your friend explains that he made more food than he could ever eat before it would spoil and so was wondering if she wanted some. She smiles and gets a tupperware that your friend fills up, she asks the two of you to come in for some wine, which you both eagerly accept. It’s tart and strong and refreshing. You stay for about 15 minutes and talk about cooking. After leaving, you and your friend repeat this with more of his neighbors until the leftovers are all gone, though you’re not exactly empty-handed: you have a small pie from one neighbor, a loaned book from another, two bottles of beer from a third, and a bunch of fresh basil from the forth, all given without any prompting or expectations, and accepted not as payment or exchange but as an expression of goodwill reflecting that which your friend sent to them.

What you witnessed that night is technically called “community”, but it’s something so fundamental to the human experience and so foundational to human well-being that even those without the word would recognize it for what it is: social relations for the sake of social relations, the benefits coming not as part of some market mechanism but from simple human connections, the very thing that allowed humans to survive without the teeth and claws that other creatures enjoyed. It’s something that has sustained us before the capitalist economic system was even conceived of.

Because of this, it doesn’t follow the logic of the market, the ruthlessness and greed that give meaning and horror, to the capitalist system. It follows, instead, the logic of solidarity and friendship – it cannot be turned into a stock, it cannot be sold in stores, and it cannot be hawked on an infomercial. Indeed, that is the point. And it is because of this that the capitalist system finds it so threatening and why it works so hard to dismantle it.

While capitalism has always produced alienation, the rise of the so-called “sharing” economy, facilitated through smartphone apps and fueled by mountains of venture capital, is the apotheosis of the system’s war against the non-economic sphere. You can share cars, apartments, even meals with the touch of a button. It promises to take power away from the large corporations and put it into the hands of the individual, turning a top-down command economy into a peer-to-peer networked one. In reality, however, it is nothing more than capitalism rebranding itself. Having studied complaints about it with all the seriousness of a market researcher, it has launched the same old product in a bright, shiny new package, the New Coke of economic systems. Don’t believe it. The end goal is the same as it always was: profit.

The rhetoric surrounding these “services” is nothing more than a cover for capitalism’s direct colonization of our social interactions, our personal relationships becoming nothing more than one more means of production for some far off executive congratulating himself for a job well done. No longer content with monopolizing our physical world, it has now turned to our social relations as well, seeking to reduce something fundamental to who we are into a line item on a balance sheet.

Under this system, getting a ride to the airport, staying at someone’s house when traveling, cooking meals and sharing leftovers, are actions undertaken not in the name of friendship and camaraderie but as an impersonal economic transaction. The “sharing” economy is nothing of the sort – it is a way for companies to get people to do their work without having to deal with things like wages or benefits. It’s a way to build a hotel empire without having to build any actual hotels; it’s how you make money off selling food without making, or even buying any yourself; it’s a fleet of taxis without having to deal with things like fuel costs, liability insurance and licensing (not to mention ornery unions). At best, it should be called a renting economy. The participants take on all the work and all the risk. All the companies do is provide the connections, something that can easily be done for free, and has been for centuries and yet, for some reason, the people who create these services are praised as innovators. It is a parasitic relationship that masquerades as symbiosis.

The tragedy of all this is that it has turned an idea with revolutionary potential into one more manifestation of the dominant economic paradigm, a top-down structure where anything outside the bottom line is, at best, a secondary concern best dealt with after the quarterly earnings report comes out, so as not to spook the investors. It’s like if someone invented the steam engine and the only thing people used it for was to get wrinkles out of shirts, for a hefty price. We shouldn’t really be surprised about this, though. This is what capitalism does: it expands and absorbs anything it touches. It has to grow, or it will die. It constantly needs new things to monetize, to commercialize, to turn into products that it can feed its captive global market, and so when it begins running out of other things to make money off of, why not turn to our social relations? At this rate, nowhere and nothing and no one will be free of its influence, to rise above the status of a commodity.

There is still a chance to preserve this one last bulwark against the hungry market, however, while the “sharing” economy is growing, it has yet to surpass the size of the real sharing economy, the old connections we share and the new ones we make every day. We must discard parasitism disguised as sharing and promote mutual aid and solidarity; networks of people that can sustain themselves and each other outside the ruthless logic of market relations. We must share food, not because we can make some money,but because we care about each other. We must share rooms, not because we have aspirations of becoming some mini-entrepreneur, but because we value our connections. We must open up to new relationships, not because they present more opportunities for monetization, but because we want to reverse the alienation and isolation that has been foisted on us by a cruel and uncaring economic system. We must not allow the last refuge from rapacious market relations to fall to capitalism, turning even our most intimate relationships into something with a calculable dollars-and-cents value that can be bought and sold like a used car.

This battle presents unique opportunities for resistance, because it is one that is largely decoupled from the physical world. They are fighting us on the ground of our personal relationships and it is here that we, not they, have the home field advantage. We can fight and we can win, as long as we have our friends.

— Chris Cunderscoreg is the founder of the blog We Are the 99 Percent.

Source

David São Paulo Converts Big Mac Fanatics for Burger King

David São Paulo launched a new campaign promoting the Big King for Burger King, the chain’s new competition for McDonald’s Big Mac.

The agency created a new online spot in which it found five people around the world who were such big fans of the Big Mac that they had an image of the burger tattooed on their body in visible places. Each of the Big Mac fanatics, from Brazil, Taiwan, the United States, Spain and Italy, was sent an invitation to come to São Paulo to try Burger King’s new burger and test their brand loyalty. Predictably, each of the Big Mac fans liked Burger King’s version even better, but the agency didn’t stop there. They brought in Miami Ink tattoo artist Ami James to transform their tattoos into the flame-grilled Big King. Each of the participants, save for one who didn’t want to change the tattoo he shared with his brother, went along with the transformation and now have an image of the Big King where there was once a Big Mac. That its competitors biggest fans were willing to have the Big King permanently displayed on their bodies is a fairly compelling testament to the Big King, but the story is simple enough that it could have been told in half of its three-minute runtime.

“Leaving old habits behind can sometimes bring us pleasant surprises in life, and that’s what we wanted to convey in this Big King campaign,” said Ariel Grunkraut, marketing director for Burger King in Brazil. “We found out that people are indeed open to change, and they often find that it can bring both
something positive and surprising.”

“Sometimes reality surpasses fiction,” added David Brazil creative vice president Rodrigo Grau. “In literally one month we traveled the world seeking the most fanatical fans of our competitor, to convert them into Big King fanatics. An idea as difficult to accomplish as it was fascinating.”

Credits:

Agency: DAVID São Paulo
Client: Burger King Brasil
Creative VP: Rodrigo Grau
Creative Director: Edgard Gianesi
Art Directors: Diego Barboza, Jean Zamprogno, Bruno Luglio
Copywriters: João Gandara, Fernando Pellizzaro, Ivan Guerra
Executive Producer: Mariane Goebel
Producer: Renata Neumann
Head of Planning: Fernando Ribeiro
Planning Director: Luiz Arruda
Planning Supervisor: André Gonçalves
Account Director: Carol Vieira
Account Supervisor: Natalia Rakowitsch
Account Executive: Natalie Bursztyn
Account Assistant: Fernanda Feldmann

CLIENT
SVP Global Brand Management: Fernando Machado
Marketing Director: Ariel Grunkraut
Marketing Manager: Kellen Silverio
Marketing Coordinator: Thais Nascimento
Marketing Analyst: Lariane Duarte

PRODUCTION
Production Company: Crane.TV
Executive Producer: Constantin Bjerke
Director: Vandalo
Director of Photography: Daniel Venosa
Head of Brand Solutions:  Pernille Raven
Producer: Julieta Biasotti
International Account Manager: Cecilia Temke
Editorial and Online: Cutu Benedict
Producer São Paulo: Juliana Pacheco
Producer Milano: Iacopo Carapelli
Producer Madrid: Beatriz Collado
Producer Taiwan: Lucie Wang
Producer Brasília: Jetro Ositeky
Producer Los Angeles: Felix Reyes
Music and Audio Post: Antfood
Account: Lou Schmidt / Sean McGovern
Audio Producers: Pedro Botsaris / Lou Schmidt / Wilson Brown
Food Stylist: Paula Rainho

Deutsch L.A. Goes Bacon Crazy in Latest for Taco Bell

Deutsch LA launched a campaign for Taco Bell supporting the brand’s new Bacon Club Chalupa with a surreal look at a bacon product world gone mad.

The campaign is built around a 30-second spot, entitled “Bacon Mall” which sees a young man perplexed by a vast array of inedible bacon products before arriving at Taco Bell for a Bacon Club Chalupa. Set to a new cover of “Mad World” by Halsey, the spot spreads the message, “Bacon you can’t eat is bacon you don’t need.” Among the ad’s befuddling bacon products are Bacon Couture, bacon sunglasses, Bacon One Hightops and Bacologne. Those last two are among the ten (fictional) products featured in the campaign’s social video component, five of which have been released thus far. Others include “Bacon Headphones,” “The Bacon Racing Chair,” and “The Sizzling Bacon USB Drive.” Clearly aiming for shearability via pure ridiculousness, the spots heartily endorse these mock products before ending with the “Bacon you can’t eat is bacon you don’t need line” and a nod to the new product. There’s also just enough of a kernel of truth to the bacon-crazy product schtick that some viewers may wonder for a second if a given product is real before being interrupted by the line.

Following on the heels of the agency’s “Sharing Sucks,” it appears Taco Bell and Deutsch LA are taking a break from targeting McDonald’s lately to promote new, on-breakfast items. That said, it’s unlikely we’ve seen the last of their Ronald-bashing.

Broadcast Spot Credits:

Client Credits
Chief Marketing Officer: Chris Brandt
VP, Brand Creative Director: Tracee Larocca
Director of Advertising: Aron North
Brand Experience: Alexandra Bunn
Food Consultant: Carolyn Avelino

Deutsch Credits

Creative Credits:
Chief Creative Officer, North America: Pete Favat
Executive Creative Director: Brett Craig
Group Creative Director: Guto Araki
Group Creative Director: Tom Pettus
Creative Director: Andy Pearson
Creative Director: Ken Slater
Associate Creative Director: Jeremiah Wassom
Senior Copywriter: Chris Pouy
Director of Integrated Production: Vic Palumbo
Executive Integrated Producer: Paul Roy
Integrated Producer: Jamie Gartner
Assistant Integrated Producer:  Evan Aronson
Music Director: Dave Rocco

Account Management Credits:
Group Account Director: Walter Smith
Account Director: Sandy Song
Account Supervisor: Monica Tobin
Account Executive: Sasha Rawji

Account Planning:
Chief Strategic Officer: Colin Drummond
Group Planning Director: Lindsey Allison
Senior Account Planner Kelly Mertesdorf

Business Affairs/Traffic:
Director of Integrated Business Affairs: Abilino Guillermo
Business Affairs Manager: Nestor Gandia
Director or Broadcast Traffic: Carie Bonillo
Sr. Broadcast Traffic Manager: Sarah Freeark

Executives:
CEO, North America: Mike Sheldon
President, Los Angeles: Kim Getty

Live Action Production Company: Reset
Director: Vesa Manninen
Managing Director: Dave Morrison
Executive Producer: Jeff McDougall
Producer: Jennifer Ingalls
Line Producer: Ahnee Boyce

Editorial Company : Therapy Studios
Editor: Doobie White
Assistant Editor: Amy K. Bostrom
Executive Producer: Joe DiSanto
Head of Production: Allegra Bartlett

Post Facility: MPC
Producer: Summer McCloskey
Senior Colorist:  Mark Gethin

Post/VFX: Therapy Studios
Executive Producer: Joe DiSanto
Lead Flame Artist: Wren Waters

Licensed/Composed Music, Credits and Track Info:
Track:  “Mad World”
Covered by: Halsey
Writer: Roland Orzabal

Audio Post Company: Therapy Studios
Executive Producer: Joe DiSanto
Mixer: Jeff Fuller
Sound Design: Eddie Kim

Shoot Location: Santiago, Chile

 

Social Video Credits:

Client Credits:
Chief Marketing Officer: Chris Brandt
VP, Brand Creative Officer: Tracee Laroocca
Director of Advertising: Aron North
Associate Manager, Brand Experience: Alexandra Bunn

Deutsch Credits

Creative Credits:
Chief Creative Officer, North America: Pete Favat
Director of Integrated Production: Vic Palumbo
Executive Creative Director: Brett Craig
Group Creative Director: Tom Pettus
Group Creative Director: Guto Araki
Creative Director: Andy Pearson
Creative Director: Ken Slater
Art Director: Cheston Kwan
Copywriter: Josh Hill
Executive Producer: Paul Roy
Producer: Damon Vinyard
Associate Producer: Josh Goldsmith

Account Management Credits:
Group Account Director: Walter Smith
Account Director: Sandy Song
Account Supervisor: Monica Tobin
Account Executive: Kaitlin Tabor

Account Planning:
Chief Strategy Officer: Colin Drummond
Group Planning Director: Lindsey Allison
Senior Account Planner: Kelly Mertesdorf
Senior Digital Strategist: Amelia Hall

Business Affairs/Traffic:
Director of Integrated Business Affairs: Abilino Guillermo
Business Affairs Manager: Nestor Gandia

Executives:
CEO, North America: Mike Sheldon
President, Los Angeles: Kim Getty

Live Action Production Company: Brand New School, Santa Monica CA
Director: Brumby Boylston
Executive Producer: Paul Abatemarco
Head of Production: Julie Shevach
Line Producer: Brian Armstrong

Editorial Company: Brand New School, Santa Monica CA
Editor: Marc D’Andre
Assistant Editor: Austin Lewis

Post Facility: Brand New School, Santa Monica, CA
Executive Producer: Paul Abatemarco
Senior Producer: Alex More
Senior Colorist:  Loren White

Post/VFX: Brand New School, Santa Monica, CA
Executive Producer: Paul Abatemarco
Senior Producer: Alex More
Lead Flame Artist: Kevin MacDonald
Animator / Compositors: Adam Smith, Ben Bullock, Joseph Moon
Designers: Karen To, Yoon Lee

Licensed/Composed Music, Credits and Track Info:

Track: A Touch of Magic
Composed by: David Wittman
Publisher: Marc Aaron Jacobs
Company Name: NSLE Music
Elias Arts Music Library, LLC NY, NY
Asche & Spencer Minneapolis, Minnesota

Executive Producer: Matt Locher
Audio Post Company: Lime, Santa Monica, CA
Mixer: Matt Miller
Assistant Mixer: Mark Nieto

Kids Curse (a Lot) in BBDO Berlin Smart Car Ad

Here’s an unusual “WTF??” ad launched about a month ago by BBDO Berlin for Daimler AG’s teeny-tiny Smart car division.

The work could be (very loosely) described as an anti-road rage campaign for which the Berlin team convinced several kids to use words that we couldn’t quite comprehend when we were their age.

As mentioned above, get ready for a mouth full of f-bombs:

Some of these kids may be cursing thanks to the magic of technology, but they’re all very irritated. The campaign attempts to (again, very loosely) connect the problems associated with driving an over-sized car to the parental failure of teaching one’s sons and daughters to use the sort of language you turn to when confounded by the frustrations of your everyday life.

If you only had a more easily parkable car, your offspring would be better behaved and, presumably, more generous to others.

Our main question: what was the phrase that had to be bleeped out if the kids can get away with such coarse language?

CP+B Hires New Strategy Lead from Mekanism

Today CP+B named Eric Zuncic as its new North American chief strategy officer.

Zuncic previously led strategy at Mekanism, where he worked with clients including Ben & Jerry’s, The North Face, Pepsi and The White House; he led strategy on the latter party’s “It’s On Us” anti-sexual assault campaign. Before joining the shop, he directed strategy and innovation for New York’s Brand Union, where he consulted with other firms handling consumer and B2B brands. His pre-agency positions were in-house: he worked on the Dove Men+Care brand at Unilever and held several marketing/management positions within the GEICO organization.

The agency’s newest hire does not replace any outgoing staffers; Zuncic will work “in partnership” with Jason De Turris, the former VP/planning director who relocated to Hong Kong last year after being promoted to CSO. When the agency announced De Turris’s move, it also mentioned its plans to “appoint a new head of planning in North America in the near future.” Zuncic is that planner, and he will be based in Boulder while working with the agency’s other offices in Miami and Los Angeles.

Regarding the new addition, Global CEO Lori Senecal writes:

“What initially drew us to Eric is his unique, modern approach to strategy that he’s cultivated through a breadth of experience, ranging from a deep understanding and expertise in data and analytics, to lead strategy roles on both the client and agency side.”

In his own statement, Zuncic argues that strategy is more crucial to agencies than ever:

“Planning was originally invented in the service of creativity, but over the years, it seems the industry has over intellectualized it and disjointed it from the creative process,”

We want to show how unexpected new ways of linking strategy and creativity can help solve the toughest business problems.

[I am] excited to be a part of the agency that reinvented the way modern brands behave.”

This marks the latest executive change at CP+B. In April, VP/director of product and innovation David Corns (who was responsible for many of the agency’s original creations) left to run accounts at Venables Bell & Partners in San Francisco.

The accounts on which Zuncic helps drive strategy will also include Pay Pal, which recently signed with CP+B’s L.A. office for project work.

North Shore-LIJ Names JWT NY Lead Creative Agency

New York’s largest healthcare system North Shore-LIJ–which in recent years has worked with small agencies including Gatesman + Dave and Devito/Verdi–selected J. Walter Thompson New York as its lead creative agency.

The agency will be tasked with leading North Shore-LIJ’s branding and advertising strategy for all of its enterprises, including 19 hospitals, over 400 outpatient physician practices, medical research and education enterprises, effective immediately. JWT will work on developing a brand campaign aimed at “bringing to life the health system’s leadership position in the healthcare industry,” according to a press release. The news comes on the heels of the agency winning creative duties for Kellogg brand Special K at the end of last week.

“J. Walter Thompson will be a critical strategic and creative partner in helping to enhance our brand and reputation for offering best-in-class healthcare in both the New York metropolitan area and beyond,” said North Shore-LIJ senior vice president and chief marketing and communications officer Ramon Soto.

“North Shore-LIJ is in a unique position to be a partner to patients and consumers throughout their entire lives,” added Lynn Power, president, J. Walter Thompson New York. “We’re thrilled to work with a dynamic, rapidly expanding company that is reaching new heights in the delivery of healthcare.  It will be a privilege to partner with their incredible team.”

RPA Stages Weezer Singalong for Honda Pilot

RPA launched a campaign for the new 2016 Honda Pilot with two new broadcast spots which position the vehicle as “Ready for Anything.”

The 30-second “The Incredible Pilot Elite” presents “a demonstration in adaptability” with a mix of practical and CGI effects demonstrating the vehicle’s features. A second, 60-second spot directed by Jason Reitman (Juno, Up in the Air), shows a family on a road trip. One of the children starts singing the opening lines to the classic Weezer song “Buddy Holly” and soon the rest of the family joins in for a full singalong, passing by another family who laughs at them right after they get to the line “I don’t care what they say about us anyway.” It’s an unlikely scenario, to say the least, briefly showing off the vehicles spaciousness while undoubtedly getting the song stuck in viewers heads.

Broadcast spots will be slotted for cable, late night and early morning, and will run on CBS NFL, ESPN NCAA Football and ABC/ESPN NBA in the fall. They will also run on online channels including YouTube and Yahoo and through digital partnerships with Amazon, IMDB, TripAdvisor, Pinterest and Xbox. The campaign also includes a print component, which will run in publications including MotorTrend, Road & Track and Autoweek.

Grey London Makes Things Less Awkward in New Scope Campaign

UK charity Scope and its creative shop Grey London still want to end social awkwardness…and by that we don’t mean the uniquely British form of what we call “casual conversation.”

In the agency’s May 2014 ad for the client, the awkwardness of it all stemmed from the fact that the object of one guy’s affections at a local bar happened to be deaf.

The latest chapter of the “End the Awkward” campaign launched this morning in order to celebrate “International Kissing Day,” which we definitely did not know to be a thing. The twist is, again, that one of the individuals involved in each kissing incident happens to be disabled.

Another twist: all three of the pairs in this ad are real-life couples, each of which stands to prove that the process of interacting with disabled people doesn’t have to be weird.

The campaign was inspired by a survey finding that only seven percent of British people who participated in the poll had dated or even flirted with a disabled person. The message, of course, is that those who face physical challenges every day thanks to such conditions have the same needs and desires as the rest of us.

That said, such couplings do sometimes have unintended consequences:

“Our kiss caused a car crash!” http://t.co/qaknnUfKou#EndTheAwkward#InternationalKissingDaypic.twitter.com/JiB57vHEjA

— Scope (@scope) July 6, 2015

Credits via Little Black Book Online:

Creative Agency: Grey London
Account Management: Bill Scott, Sophie Fredheim, Fay Taylor
Assistant Producer: Talia Shear
Creatives: Lex Down and Jamie Starbuck
Deputy Executive Creative Director: Vicki Maguire
Head of Production: Glenn Paton
Planner: Matt Tanter, Mike Alhadeff

Music and Sound
Sound Design: Sam Ashwell @ 750mph

Post Production / VFX
Post Production House: ETC
Production Company
Production Company: Academy
Producer: Luke Goodrum
DOP: Justin Brown
Director: Nabil