Another World is Possible

From the Spanish Civil War to the fall of the Berlin Wall, anarchism pushes for a new social order

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

The Spanish Civil War that occurred between 1936-1939 is always remembered as the fight between the Republicans and Franco’s nationalist semi-fascist forces. However, the war was marked by another, extraordinary event; in 1936, the year of the outbreak of the civil war, the world witnessed the first glimpses of an anarchist revolution. Sam Dolgoff, an American anarcho-syndicalist, stated that the Spanish Revolution “came closer to realizing the ideal of the free stateless society on a vast scale than any other revolution in history.”

The revolution was led by the CNT (Confederación Nacional del Trabajo), a confederation of anarchist and anarcho-syndicalist trade unions. A significant part of Spain’s economy was collectivized and put under direct worker’s control. In Catalonia, workers controlled more than 75% of the economy. We should not imagine Soviet-style forced collectivization, but, as Sam Dogloff said, “a genuine grass roots functional libertarian democracy, where each individual participated directly in the revolutionary reorganization of social life”. George Orwell, who has served as a combatant for the CNT, was able to document the revolution as a first-hand observer. Two short passages from his Homage to Catalonia, published in 1938, illustrate superbly the spirit of the revolution: “[T]here was a belief in the revolution and the future, a feeling of having suddenly emerged into an era of equality and freedom. Human beings were trying to behave as human beings and not as cogs in the capitalist machine,” and “many of the normal motives of civilized life—snobbishness, money-grubbing, fear of the boss, etc.—had simply ceased to exist. The ordinary class-division of society had disappeared to an extent that is almost unthinkable in the money-tainted air of England; there was no one there except the peasants and ourselves and no one owned anyone else as his master.”

Unfortunately, the Spanish anarchist utopia did not last long. The anarchists were crushed by a temporary alliance between all other political parties (including the Communists and the Socialists) and the brief—but real—experience of an anarchist society faded away.

However, an important lesson can be drawn from the anarchist utopia of 1936: another world is possible (which is also the slogan of the World Social Forum). Before discussing anarchism’s possible role in the resistance to the capitalist world order, let’s shortly retrace last century’s main stages of the capitalist system’s consolidation: elites have won the long-lasting struggle against the working class; this was achieved firstly by granting workers some benefits after World War II, notably through the implementation of welfare systems in the West, then by fragmenting them with the increase in specialization of labor and the growth of the service industry during the post-Fordist period and finally by assessing the knockout blow through neoliberal policies, which erased hard-fought social and economic rights, diminished trade unions’ bargaining power and weakened their influence.

The libertarian revolutions of 1968 have also ended up in disappointment. Hopes brought by the “New Left” political movement that emerged from the demands of students, activists and workers, came to a close when economic powers and politics colluded in the 80s, removing the last glimmers of hope that change could happen from within the current political system. The 1980s also marked the beginning of the neoliberal era (deregulation of the financial system, erosion of welfare states, privatization programs, financial crises, cuts to public spending).

Finally, the fall of the Berlin Wall represented the end of the last bastion of ideological resistance against capitalism: communism. Fukuyama’s The End of History and the Last Man main thesis was emblematic in the representation of the world we faced and still face today: the triumph of liberal democracy and capitalism marked the end point of mankind’s ideological and political evolution.

We live in a historically specific cultural paradigm, shaped during the course of the last century through mass media, popular culture and advertising, which converged together and formed our consumer culture and in an economic and political system structured to serve the interests of a small elite. In this scenario, anarchist thought has a dual function of resistance: as a challenge to the neoliberal ideology, and as a possible concrete utopia that can guide us in the construction of a valid alternative social order.

The most accessible ground for us, “the 99%,” through which a radical change can be achieved, is that of ideas. No economic or political revolution can bring genuine change without, stated Serge Latouche, an advocator of the degrowth movement, “the decolonization of our minds” from the ideological framework we find ourselves in. Anarchism challenges the ideas, the dehistoricized and naturalized assumptions, and the taken-for-granted norms of today’s society. In an anarchist society, solidarity would replace individualism; mutual aid would prevail on competition; altruism on egoism; spirituality on materialism; the local on the global. Changing the current global framework of rules first necessitates an individual ideological liberation that can only come through self-awareness. To free our body we must first free our mind.

— Tommaso Segantini, Brussels, Belgium

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Star Group Communications Shuts Down

In a somewhat dramatic turn of events, New Jersey-based Star Group Communications, identified as “the largest woman-owned marketing and communications firm in the country,” officially closed all of its offices today after more than 30 years in business.

As reported by the Philadelphia Business Journal, the agency sent a memo out to its 150-plus employees last night:

“Effective close of business today, it is with deepest regret that we must advise you that due to circumstances beyond our control, Star Group Communications, Inc. will cease to operate.”

Its homepage now includes a longer version of that statement:

Star GroupThe nature of this situation is not clear. Neither are the “new relationships” that Star Group promises its “top draft picks.” Star Group’s Glassdoor reviews were no worse than those of many other agencies, with now-former employees calling the operation “a mixed bag of skittles” and a “30 year old startup.”

One possible hint regarding the cause of the closure may lie in the agency’s client list, which included “Comcast, Teva, Wharton University of Pennsylvania, Fox Rothschild and Tropicana Entertainment.”

The failed Comcast/Time Warner Cable merger led to a series of layoffs at GS&P in San Francisco and New York, though it’s unclear whether the Star account was large enough to facilitate the closing of the entire operation. (The agency had offices in New Jersey, Philadelphia and Las Vegas.)

Interestingly, the pending shutdown did not prevent Star Group employees from attending and live tweeting yesterday’s Social Media Day events in Philadelphia.

star group twitterThey must not have been aware of what was about to happen.

Ad Age's Independence Day Membership Sale Is on Now


To celebrate Independence Day, Advertising Age is offering ridiculously great pricing on our Basic Membership package. For just $79 (in the U.S.), you’ll get a full year of unlimited access to AdAge.com and Creativity-online.com, 24 print issues — including our must-have specials (the Digital Issue, the Data Issue, the Agency Issue, etc.) — and other sweet membership perks, including Datacenter and Research Report discounts, invites to member-only events, and more.

The current best price for Basic Membership is $109, so you’ll be saving 28%.

Did we mention this deal is just a click away? (The sale starts July 1 and ends on July 6. So, as they say, act fast!)

Continue reading at AdAge.com

Whose choir are you preaching to?

“Mr. Clean represents patriarchy from some disgusting bygone day.”

“In a horrible fat-shaming society like America, Kool-Aid’s mascot is body positive. And it’s about time.”

“The only thing more horrifying than Pearl Drops racist all-white toothpaste is its anti-science stance on fluoride.”

“Even KFC has to hide the fact it is from Kentucky. Because Kentucky is the south. And everyone knows the south is made up of nothing but racists. If you like KFC, you’re racist, too.”

Those headlines are coming to an ad blog near you. But not this one, of course. Rest assured, dear reader, that the people who are for Adland, are not that bat shit insane. We leave the increasing insanity of the rabid social justice warrior to the other blogs you know. They often judge ads through an extremely myopic lens so warped it’s a wonder they don’t need physical therapy from all the straining. The ones who judge ads based on everything but the idea behind the idea, which is what we should be judging the ad on. Give credit for credit’s due. At least certain ones like Jezebel live up to their names.

Adweek on the other hand, is a different story. Lately it has jumped on the same clickbait grabbing, frothy mouthed opinion piece masquerading as #Truth. And my question is, why is a once decent trade mag wallowing in the pigpen? Why has the focal point turned from “Will this ad persuade me?” or even better “Will this ad persuade the intended target market who probably isn’t me?” to “How offended should we be?”

Before I answer, let me share a story: Last week I presented some work to our GCD’s. I believed in the work. They on the other hand, did not. Beyond not believing in the work, they made a joke wondering if the creative teams who made it were on LSD or drunk when they came up with it. Never mind the GCD’s asked to see “different,” work. Never mind the work was 100% on strategy. Never mind the fact it was the eighth weekend in a row the teams had worked. Beyond the complete lack of respect in their response, their feedback was useless. It was subjective, and harshly so. Not only were the teams insulted, they walked away with no more idea how to get work approved than before they presented.

This is how ad blogs are behaving. And that’s troubling. Because they aren’t critiquing the ad so much as taking a hardline stance against the ad’s messaging. They aren’t looking at the strategy of the communication so much as knee-jerk reacting to the end result because #science #truth #abortion #racism #climate #whatever. All the more absurd when you remember often times the ads they’re criticizing aren’t always ads from brands that have anything to do with science, vaccines, abortion or climate. They are so incredibly closed-minded and so incredibly biased, they’re like walking Archie Bunkers. Except they’re on the progressive side, of course. But outside of TV and and blogs, no one is that one sided. Humans are more complex than that.

When I sometimes read these ridiculous “analyses” I start thinking– it has to be a joke, right? Like comedy masquerading as bad performance art?
I believe it is a joke. At least partly. As we’ve said before, with few exceptions, journalism is dead. The bar now isn’t as lofty as fostering a deep exchange of ideas or a proper analysis among people who may disagree but want to understand a different opinion . No, now the bar is “shut the other side up and get as many likes and retweets as possible.” If we can get a bevy of comments that vehemently refutes or supports the opinion piece in the comments section, so much the better. We don’t moderate that shit anyway, so have at it.That last part is extremely important in showing how much journalism has changed. In original ink and paper newspapers, letters to the editor were moderated to keep the crazy in the attic where it belonged. Now the door is wide open. It’s simple math, too: The crazier the comments, the more prejudiced the article.

The fault of this of course, lays squarely at the feet of the authors, who haven’t worked for an ad agency ever, let alone stepped foot in one, and have absolutely no idea what the process of coming up with an ad entails. Let alone selling it, focus grouping it and producing it.

To be fair and give props where props are due, Adland isn’t the only blog that still gives a shit about advertising. George Parker’s Adscam is hilarious, plus he swears a lot and likes Kate Moss. Like really likes Kate Moss. He also works in the business. Bob Garfield, who to my knowledge never worked in advertising, understands the point of advertising and its flaws more than a lot of people who work in advertising. And Mark Copyranter Duffy, is another example of how you can be subjective about advertising where it matters most while still understanding advertising’s function.

So now let’s get to the Adweek Catholic piece. Either the author is so ignorant of American history they don’t know Catholics have had a bias against them since the colonies, or they know and they don’t want to destroy the one-sided narrative of their hit piece lest the likes and retweets drop. Because it’s all a joke, you see.
Generation Narcissist isn’t happy until they are part of the story. Trolling has replaced objectivity. And both “journalist,” and commenter are only happiest when their air of superiority is lorded over the rest of us. God’s work indeed. I wonder if every workday at these companies begins with the question: “How can we make this story more racist/homophobic/sexist?”

Actually, no I don’t.

What I really wonder is, if you are working in advertising, and know the feeling of having to endure your own creative directors dismissing your ideas for invalid, stupid and absurdly subjective reasons, how long will it be until you stop reading the blogs who shit all over your work for the same reasons? How long will it be until you can no longer them seriously? More importantly if I am a brand, when will I start taking my money elsewhere?

If what happened over

Top 100 Marketing Trends in July – From Drinkable Whiskey Clouds to Workout-Advertising Robots (TOPLIST)

(TrendHunter.com) July 2015 marketing innovations look at creative advertising and marketing strategies that reach consumers in the most ad-saturated age. This includes mobile initiatives, interactive campaigns and…

Rocky Balboa treina filho de Apollo em “Creed”

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Confira o primeiro trailer do filme estrelado por Michael B. Jordan e Sylvester Stallone

> LEIA MAIS: Rocky Balboa treina filho de Apollo em “Creed”

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Google Search Results, Ads Showing Up on Yahoo as Part of Non-Exclusive Test


Don’t cry for Google. While the search giant’s 13-year alliance with AOL ended this week, the company appears to be cozying with an even bigger portal.

Google search results and ads have begun appearing when people search on Yahoo. SEO Book, a company that specializes in training people on how to make sure their sites rank highly in Google’s search results, appears to have been the first to report the results’ appearance on Yahoo earlier on Wednesday.

A Yahoo spokeswoman wouldn’t confirm that Yahoo is sourcing search results or ads from Google specifically, but acknowledged that the company is sourcing results from different search providers as part of ongoing tests.

Continue reading at AdAge.com

appraisal: Apple Music Is Strong on Design, Weak on Social Networking

The service brags that its playlists are curated by people not algorithms; on the other hand, its social network app needs retooling.


ECD Matt Ian Leaving TBWA for Droga5

Matt Ian, a longtime creative department fixture who spent the last two years as ECD at TBWAChiatDay New York, will leave that agency this month to become group creative director at Droga5.

Sources told us about the move before the ink had even dried on Ian’s contract, and today his new employer confirmed the story as he prepares to end his tenure with the TBWA organization.

Almost exactly two years ago, Ian left Deutsch LA for TBWA in order to replace Matt Figliulo; the latter had just made the break in order to launch his own agency, which later won and lost Sprint. While at Deutsch, Ian served as ECD on the Volkswagen account but did not work on that one campaign. You know the one.

Prior to his 2011 hire by then-Deutsch CCO Mark Hunter, Ian led creative on the Microsoft Windows account at Crispin, Porter + Bogusky. During his previous nine-year stint with BBH in the Big Apple, he helped launch AXE in the states while writing and directing ads for Johnnie Walker and Levi’s, among others. Prior agency roles include stints writing copy at Ogilvy & Mather and, yes, TBWA New York under then-chief David Page (currently of BouchezPage).

When Rob Schwartz was promoted to CEO of TBWA New York in January, he said that Matt Ian would retain his ECD position–but Ian frames the new gig as the product of a natural and even inevitable progression, writing:

“I’ve always admired Droga5’s strong creative pedigree and diversity of client experience. Overall, the agency has produced some of the most influential work in the business, and if you can’t beat em, join ‘em.”

The new hire, of course, follows the agency’s big week at Cannes, at which it won Independent Agency of the Year. From Chief Creative Officer Ted Royer:

“Over the past year, Droga5 has experienced exponential growth and a record year on the awards front. We are always looking to add great talent to the team to continue this momentum. We are are thrilled to welcome Matt to the agency and look forward to seeing him in action.”

And here we thought no one in the ad industry obsessed over awards.

Top 100 Design Trends in July – From Illuminated Public Benches to Energetic Airport Makeovers (TOPLIST)

(TrendHunter.com) As brands and institutions continue to overhaul design aesthetics in order to appeal to the modern millennial consumer, this shift is felt in all areas of the design world.

In the world of visual…

Snapchat muda maneira de visualizar snaps (e facilita screenshots)

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Visualizar snaps enviados no Snapchat sempre foi algo bastante intuitivo. Bastava segurar o dedo na tela para ver as fotos ou vídeos enviados pelos amigos. Uma atualização do programa liberada hoje muda esse paradigma – agora você só precisa tocar no snap e ele automaticamente é exibido. Deslizando o dedo de cima pra baixo da […]

> LEIA MAIS: Snapchat muda maneira de visualizar snaps (e facilita screenshots)

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Sprint Rolls Out New 'All-In' Plan, Drops Throttling Clause After Consumer Backlash


Sprint Corp. unveiled a new “all-in” pricing plan Tuesday with a campaign featuring David Beckham. And then someone read the fine print.

Sprint Tuesday began offering consumers an $80 “All In” pricing plan that includes $20 lease payments on a handset and $60 for unlimited text, phone and data services; it also ended its $70-a-month unlimited service plan. The offer expires Aug. 6.

But later the same day, the company released a statement saying that it would remove video-streaming limits it had set for the new plan. That came after some consumers read the fine print and noticed that the deal included a clause saying Sprint would throttle online video with a maximum video speed of 600 kilibots per second at all times — “a speed that’s little better than what you’d get on dial-up,” according to the Washington Post.

Continue reading at AdAge.com

Reeling It In: Movie Marketing Dollars Boost Broadcast, Cable Nets


Movie dollars are keeping the networks fat and happy this summer, and while a number of potential blockbusters have yet to hit your local multiplex, thus far Warner Bros. has emerged as TV’s biggest booster.

According to iSpot.tv data, the three summer releases that currently account for the biggest TV spend are all Warner titles. “Mad Max: Fury Road” leads the way with a total TV investment of $41.9 million, followed by “Entourage” ($40.7 million) and “San Andreas” ($39.4 million).

A good chunk of the “Mad Max” TV buy was allocated to NBA games on TNT and ABC and across CBS and the Turner networks’ coverage of the NCAA Div. I Men’s Basketball Tournament. “Entourage” and “San Andreas” also targeted pro hoops, as teasers for both movies appeared during ABC’s presentation of the NBA Finals.

Continue reading at AdAge.com

Facebook Is Testing Ad-Supported Videos, Will Share Revenue With Creators


The question of how Facebook will try to rival YouTube’s video ad business may have been answered on Tuesday.

While Facebook has been running autoplay video ads in people’s news feeds for over a year and has been courting media companies and digital video stars to upload their videos to the social network, the company hasn’t offered a way for advertisers to piggyback those creators’ videos and for those creators’ to make money from the videos they post to Facebook. Now it has.

On Wednesday Facebook announced it is testing showing people who check Facebook on their iPhones a list of related videos when they click to watch certain videos. Those suggested videos feeds will include video ads, and Facebook will split the money from those ad views with certain creators and media companies.

Continue reading at AdAge.com

Ole Smoky Moonshine – C’mon Live A Little – (2015) :60 (USA)

Ole Smoky Moonshine - C’mon Live A Little - (2015) :60 (USA)
Here’s a perfectly stylish mood capturing series of headlines over perfectly cast scenes of tattooed bartenders mixing, shaking and serving shots of the Ole Smoky Moonshine. If I’m not being clear enough, I love the look of this brand, the Ole Smoky Moonshine brand look is perfection from bottle shape to colour choices. Even the soundtrack is perfect. It’s a young brand – 5 years – but already poised to elevate the moonshine category as the challenger-to-beat in the traditional liquor landscape. Unlike plain old vodka moonshine has roots in America, and todays quest for genuine craft from the hipster crowd has an entire generation seeking out everything that is old, as new again. It’s in this market that Standard Time, a full-service, LA-based creative agency, has been awarded the AOR account of Ole Smoky Moonshine. Their slogan “C’mon Live a Little”, is a call to action intended to disrupt routine and “incite some mischief in all of us.”

“We’re thrilled to be partnering with Ole Smoky,” said Michael Sharp, Founder and Executive Creative Director at Standard Time. “It doesn’t take much ‘shine to know what Tennesseans have known for over 100 years: Moonshine is made for the best kind of wild nights. It’s time to share the jar with a much larger audience.”

“Ole Smoky is committed to the growth of the moonshine category, and we’re excited to continue to expand our reach through targeted media and sponsorships,” said John Cochran, CEO of Ole Smoky Tennessee Moonshine. “Together with Standard Time, we can’t wait to show everyone what our moonshine is all about.”

Must Be Something Gets Really Fast for Nike

Portland, Oregon full service agency Must Be Something launched a celebrity-filled 60-second spot for Nike touting the brand’s Air Zoom Elite 8, entitled “Find Your Fast.”

In a marriage of form and function, the ad, directed by Chappelle Show co-creator Neal Brennan, flies by at a frenetic pace, cutting from one celebrity athlete to the next in its promotion of the fast running shoe. Among the thirteen athletes in the ad are Kobe Bryant, Serena Williams, Wayne Rooney, Rafael Nadal, Richard Sherman, Odell Beckam Jr. and Allyson Felix. In other words, the spot features as many celebrity athletes as it can muster, as quickly as it can. If that’s still not fast enough for you, the ad sandwiches “The World’s Fastest Ad” (with David Blaine and Kobe Bryant) in the middle of the action, complete with a cameo by the epitome of quickness: Roadrunner. As part of the campaign, Nike is calling on viewers to log their fastest-ever mile via the Nike+ community by August 30th.

Isobar Canada Gets Kinky for Durex

Isobar Canada turns up the heat in the most Canadian way possible with its new spot for Durex Play Pleasure Gels, entitled “Play, Eh?” The 60-second spot presents a series of sexual positions, with a distinctly Canadian twist.

Among the positions explored in erotic, but not explicit, fashion are “The Maple Cinnamon Twist,” “The Niagara Falls,” “The Beaver Tail” and “The Maple Leaf.” Isobar keeps it simple, presenting the positions over an erotic soundtrack without any dialogue or voiceover, ending with the tagline “Why Wait?” and a shot of the gels. The tagline is meant to highlight that following the beginning of a relationship, many couples reserve their most passionate nights for special occasions, presenting Durex Play Pleasure Gels as a way to reignite a passionate love life. Viewers are then prompted to enter a giveaway for a chance to win VIP concert tickets. Launched on June 29, the spot arrived in time for Canada Day today, perhaps giving Canadian couples some new ways to celebrate.

“Lubricants sometimes carry a confusing stigma, because that’s how they’ve been sold through to consumers up until now,” Indresh Kohli, marketing sirector for Durex Canada, told LBB. “Durex Play Pleasure Gels isn’t about saving your struggling sex life, it’s about making whatever sex you’re having the best it can possibly be. We wanted to show Canadians that great sex isn’t something they need to be apologetic about!”

Credits:

Creative Agency: Isobar Canada
Account Director: Sara Langendoen
Art Director: Karen Lo
Chief Creative Officer: Kai Exos
Copywriter: Chris Serreo
Executive Creative Director: Steve Di Lorenzo
Producer: Jessica Krikst, Travis Cameron

Director: Andrew Chiu

Fractals of Paris – La Défense

Le photographe allemand Carsten Witte a saisi l’architecture atypique du parvis de La Défense, quartier d’affaires de Paris. Sa série intitulée « La Defense, Paris Fractals » met en relief les bâtiments grâce à leur réflection les uns dans les autres. De par la technique de prise de vue, les clichés pourraient s’apparenter à de véritables illustrations.

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A vida e a morte de um iPhone

iphonecover

Um curta-metragem filmado da perspectiva do smartphone

> LEIA MAIS: A vida e a morte de um iPhone

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A Estação Espacial Internacional agora tem uma câmera 4K

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Imagens belíssimas de nosso planeta, agora em Ultra HD

> LEIA MAIS: A Estação Espacial Internacional agora tem uma câmera 4K

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