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There was the dramatic, series-winning slide into home base in 1995. There was the gravity-defying, wall-climbing catch in 1991 (and then another one, four years later). There were the hundreds of home runs—and countless moments of inspiration for fans.
The Seattle Mariners are celebrating Ken Griffey Jr.’s induction into the Major League Baseball Hall of Fame this past Sunday with an emotional long-copy print ad that tries to capture some of the star’s many contributions to the sport—and the city’s reputation.
In an era when most people live highly digitized lifestyles, 3M’s Post-it brand is doing its best to make sure people still recognize the merits of writing things down by hand.
The sticky note company this week launched a campaign named “Make it Stick,” which draws from commissioned research on students’ study habits and includes two TV spots and an online documentary series following students who use Post-it notes to overcome challenges or achieve goals.
People are 42% more likely to complete a task they’ve handwritten, according to Jeff Hillins, global business director for 3M’s stationery and office supplies division. This finding, from a 2007 study titled “The impact of commitment, accountability, and written goals on goal achievement,” is the premise of the campaign.
Ogilvy & Mather returned two prizes this week that its agency in Vietnam won at the Cannes Lions International Festival of Creativity last month. In an industry rife with scam ads, it’s not uncommon for a trophy or two to be surrendered by an agency during or shortly after the festival, but this is a record year, with five undeserved Lions handed back so far by Ogilvy, Grey and BBDO Worldwide.
The statement didn’t give any further details, and a Cannes festival spokesperson said in an email “We have nothing further to add to the statement issued by Ogilvy this week.”
Reached by Ad Age via Facebook, Lorinda Hern, co-founder of the Rhino Rescue Project, responded “We only heard about it recently, and honestly, we are more disappointed about the impact the agency’s negligence (at best) and/or sheer recklessness (at worst) could have on global rhino conservation efforts than about the awards being returned. Had we been aware of the creative liberties Ogilvy took in its submission before it was entered at Cannes, we would most definitely have requested that its content either be edited to contain only footage of actual campaign elements (like the PR event we hosted for a sizable group of Vietnamese journalists, which was enormously successful) and accurate statistics, or that it be withdrawn altogether.”
Art director Jim Landry has rejoined Minneapolis-based indie agency Clarity Coverdale Fury as its executive creative director, effective immediately.
This news marks the third stint at CCF for Landry, who brings more than 20 years to the new role: He previously served as art director at Fallon and Clarity, senior art director at OLSON and creative director at mono before rejoining CCF as an AD/CD in 2010 and later moving to Haberman as an associate creative director.
“We sought Jim out and are thrilled to have him back at CCF,” says president and CEO Rob Rankin in the release, adding, “Jim has an unmatched breadth and depth of experience. But more importantly, he has a wildly creative and enthusiastic mind – and embodies the character and values we seek in our leadership.”
Today Rankin tells us that the agency reached out to Landry, who had been running his own operation called Hammersaw with the help of an account professional, when founder/partner/ECD Jac Coverdale announced earlier this year that he plans to retire in 2017. The two will effectively co-lead the agency’s creative operations for the next six months in order to better facilitate the transition.
Coverdale is the sole remaining founder of Clarity Coverdale Fury following the 2015 retirement of Tim Clarity.
Landry has worked with a variety of clients throughout his two decades in the industry, with a focus on health and wellness. His work has been recognized by Cannes, The One Show, the CLIOs, the OBIEs and the Minnesota AdFed Show, among others; his portfolio includes such brands as Herman Miller, MADD, Citi, Timberland PRO and anti-smoking group QUITPLAN, for which he helped created a series of “Big Butt” billboards.
“Staff literally clapped and cheered” when Landry’s hiring was announced, Rankin says. “To a client, those that had worked with him in the past were absolutely thrilled. He and I will collaborate on a vision for the agency … we have lots of shared values.”
Regarding that vision, Rankin tells us, “We’ll continue what we’ve been doing; our focus is always on delivering great creative work, and we tend to focus on regional clients” along with some national brands based in the Upper Midwest.
“It’s good to be back at CCF,” Landry says. “There’s a lot of ‘great’ happening here. I’m looking forward to helping shape the next generation.”
Last month, Grey London was left reeling by the surprise resignation of three executives: CCO Nils Leonard, CEO Lucy Jameson and managing director Natalie Graeme. Now the agency has made two key executive promotions as it looks to better define itself as “the most progressive agency in the world” going forward.
Wayne Brown, formerly managing director of specialist digital unit GreyPOSSIBLE will now serve in the newly-created role of chief operating officer, while head of planning Matt Tanter was promoted to the role of chief strategy officer. Going forward, Brown and Tanter will both report to CEO Leo Rayman. Tanter fills a vacancy created when Rayman, who formerly served in the position, stepped up into the CEO role following the news of Jameson’s departure.
“By promoting Matt and Wayne, Grey London is accelerating its push to be the most progressive creative firm in the world. Their energy and diversity, combined with their modern marketing expertise are a brilliant representation of the open culture we continue to build at Grey,” Rayman said in a statement.
Brown joined Grey London to launch digital unit GreyPOSSIBLE three years ago, building it into a team of 50 strong which works with 90 percent of Grey London’s clients. He joined Grey following a two and a half year stint as managing director at glue Isobar, working with the executive team to run the agency. Brown originally joined glue Isobar nearly two and a half years before that, serving as deputy managing director before receiving a promotion. Prior to that he spent a year and a half client-side as a marketing manager for Sara Lee’s Brylcreem brand. Before that he spent over a year and a half as an account director with TBWA on the agency’s John Smiths, Apple Computers and McCain accounts. That followed nearly six years with Lowe Lintas, rising to to the role of associate brand director and working with clients such as Orange, Direct Line, Saab and HSBC.
“We’ve already built a diverse group that is true to our Open way of working,” Brown said in a statement. “To realise the vision of becoming the most progressive agency in the world, I now want to accelerate the integration of our multi-talented team, as well as drive the cultural and commercial agenda around technology, innovation, data, content and earned media and willsoon be making further announcements.”
Tanter, who at 35 is now one of the youngest CSOs in the agency world, also joined Grey London three years ago, give or take a few months. He, too, arrived at the agency from glue Isobar, where he spent four years serving as a planning director and working with clients such as The Guardian, Kellogg and Three Mobile. That followed four and half years as an account planner at Proximity London, working with brands including Sainsbury’s, Vollkswagen, Eurostar, and a brief stint as a planner with Leagas Delaney.
“We have grown a phenomenal strategy team at Grey London, driven by the belief that none of us are as smart as all of us,” Tanter added. “We have fought to get to where we are and as the world faces new challenges, we are not stopping. If you are up for it and want in, come and see us.”
A menos que você esteja navegando na internet atrás de 15 proxies, as chances são de que seu comportamento está sendo rastreado por diversos cookies. E alguns deles ajudam a mostrar anúncios relevantes pra você na internet. O College Humor imaginou o que aconteceria se um anúncio desse fosse um vendedor de carne e osso. […]
> LEIA MAIS: E se o anúncio segmentado fosse um vendedor de verdade?
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Other authors in contention for the prestigious award include J.M. Coetzee, Ottessa Moshfegh and Ian McGuire.
For Nintendo, it’s becoming one Pokmon No after another.
After telling investors last week that they won’t be able to rely on Pokmon Go to bolster profits, the company said on Wednesday that a widely anticipated accessory for the hit app will be delayed until September.
Pokmon Go Plus, a 3,500 yen ($33) Bluetooth gadget that helps users detect nearby virtual pocket monsters, was supposed to be Nintendo’s one measurable benefit from the explosive popularity of the game. It was set to go on sale in Japan this week, until Nintendo, Pokmon Co. and developer Niantic pushed back the accessory’s debut.
Erwin Penland has hired Scott Voege to serve as senior vice president, group account director in its Greenville, South Carolina headquarters.
In the new role, Voege will be focus on leading and growing the agency’s Denny’s and Pilot/Flying J accounts, while reporting directly to managing director Karen Mawhinney, who was promoted to that newly-created role last month.
Voege joins Erwin Penland from McKinney, where he has served as an account director since November of 2010, focusing on the agency’s Nationwide Insurance business.
For context, Nationwide ended its 7-year relationship with McKinney in February and — as we reported the following day — sent the entirety of its business to legacy agency Ogilvy & Mather after that shop fired the top two creatives on the account.
Prior to joining McKinney, Voege served a short stint as vice president, account director on Allstate Insurance at Leo Burnett, following a year as an account director with Chicago agency twoxfour advertising, working with clients including Bridgestone/Firestone and Grainger. Before that he spent time nearly two years with Lisa P. Maxwell as group client partnership director and then director of client partnership, working with clients such as Boyd Gaming, Blue Chip Casino, David Barton Gym and Waterton Residential. He has also held account director and account supervisor positions with the Chicago Creative Partnership and Campbell-Ewald.
To some, “storytelling” is one of those buzzwords that will define this era of marketing. To others, it’s nothing new. Someone who falls in the latter category is Darren Marshall, CMO of Steinway and Sons, a piano maker founded in New York City in the 1850s. The craftsmanship that goes into making a Steinway, plus the emotional connection to the sound it produces, is the stuff of storytelling dreams. A story always has helped and will help your sales, says Marshall, but only if you really know your target.
Telling the Steinway story
Admittedly, Darren Marshall has a bounty of great material to work with at Steinway, it being an older company with a rich history and beautiful products, still intricately constructed by hand. “To realize that this level of craftsmanship happens in New York City to this day, much in the same way that it did 100 or 150 years ago, is pretty incredible,” he says, “particularly in a world where disposability is the norm.”
Apple’s lower-cost iPhone SE is gaining more traction than expected with users, tempering a sales decline and soothing investors’ concerns about growth. The shares rose the most in 18 months.
The $399 handset garnered a healthy dose of criticism when it was unveiled in March. It was still too expensive to be attractive in emerging markets, and had the potential to reduce profitability in developed economies because customers would prefer it to more expensive, higher-margin models, nay-saying analysts said at the time.
Yet the SE proved to be a bright spot in the company’s earnings report Tuesday. Though the company forecast sales would fall for a third consecutive quarter, the $45.5 billion to $47.5 billion range for the current period was better than most analysts estimated. The revenue decline in the three months that ended in June was also smaller than projected, in part thanks to consumers embracing the new phone model.
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