21 Intriguing Japanese Oddities – From Face-Lifting Cushions to Stylish Sushi Knapsacks (TOPLIST)

(TrendHunter.com) When looking through these Japanese oddities, it’s clear that culture varies wildly from one area to another. A watermelon-shaped dumpling may seem bizarre in the West, yet something…

Step aside RIAA, the new creators care about copyright now.

A TL;DR for people who don’t read articles all the way through because words: The whack-a-mole DMCA system is as bad for Youtube content creators as it is for rich musicians.

Back in June, Taylor Swift, Paul McCartney, Cee Lo Green and one hundred seventy something other artists leant their names to the most horribly designed ad ever calling for a reform to the Digital Millennium Copyright Act, which was passed in 1998 before the millennium, Facebook, Youtube, Buzzfeed, et al. You would think Silicon Valley who is always quick to send out the Astroturf Army to label anyone a Luddite for wanting to protect their creative rights would want to update a law that in tech terms is positively antediluvian. Their ironic attitude now is “So what if a law that was passed 18 years ago no longer reflects current society. We don’t want to adapt.” Far easier to put the burden of the creator, who is already having to hustle to make ends meet, who now spend their days playing whack-a-mole on Youtube because the people who run the site don’t know how to fix it derp derp. Just as the same morons at Spotify don’t know how to file a notice of intention to get an automatic compulsory license cause it’s real hard n’ stuff. In case you missed the /s it’s easy to get an automatic compulsory license.

But this is nothing new.

All this is nothing you haven’t read here before. For a few years. At least. Nothing sums it up better than that second link from an article Dabitch wrote in 2014 called “Web 3.0 – Steal it, then sell it,” in it she references a story in which a newspaper published another newspaper’s articles, claiming it was “public domain,” and then turned around and sold access to said public domain in their archives for $1,000 because that totally makes sense. When called out, the Newnan-Times Herald who stole the article from Decaturish offered up this excuse:
“Most authors, including newspapers, seek to have as extensive circulation of their articles as possible so long as appropriate attribution is provided. And any damage to viewership on your site, as a result of our posting the article, would be miniscule.”

Dabitch is particularly on point (and living up to her name) in this comment:

Yes, we’ve all heard that one. Way to miss the point. You’re simply supposed to ask first. It’s not up to the not-owner of the copyright to stick their finger in the air and guesstimate what they think is going to happen regarding viewership, or whatever. It’s not their work, and thus not their judgement call. More importantly, copyright is not based on how many people interact with the work.

This sort of thinking is rampant in the new tech startups, funded with piles of money (as long as the funders are White Men Under Thirty, we are painfully aware). Let’s take Rap Genius as an example. You know: the kids who gank lyrics from every musician ever just to “enhance” them, with user-generated liner notes, thereby getting twice as much unpaid work from everyone else. Government-funded NPR spent a podcast fawning over RapGenius while scoffing at a lyric author whose work was monetized without his consent, because RapGenius are cool guys in Brooklyn with a diamond shaped neon sign on their wall, like OMG, so cool, yo.

Musicians are pulling in so many different directions on this topic, they are so fragmented it’s amazing they are still able to write songs together. They sign horribly – and we mean horribly – designed ads. They start hashtags. They write blogs. Some bands like Ghost Beach attempted trying to capitalize on the issue, via advertising, without really having an impact. Others like Amanda Palmer acted more like Big Tech Corporate owners than musicians, crowdsourcing working musicians that she insisted auditioning for her shows for nothing more than high-fives and free beer. And while scant few were just fine with that, enough of them raised a stink until she had to do the right thing and pay the musicians that she asked to augment her show.

This is nothing new.

Today, Sons of Anarchy creator Kurt Sutter penned a lengthy essay. I would urge you to read beyond the headline if only to understand the complexity of this situation because it goes beyond Silicon Valley and it goes beyond music. The article is essentially a rebuttal to lawyer Marvin Ammori slamming content creators for daring to want to change the anachronistic DMCA from 1998, which again is from 18 years ago before Youtube, Facebook et al.

Marv: The RIAA is trying to revive an “assault on internet freedom [that] would relitigate the SOPA debate and threaten free speech and innovation online.”

Jesus fucking Christ, show some imagination, Marvin. Every time we take a stand for the rights of artists, the bullshit internet freedom fighters accuse the entertainment industry of holding a se?ance to resurrect SOPA/PIPA, trotting out the same well-worn talking points. Google’s shadow groups, like Fight for the Future, continuously spew the same hollow arguments and never address the issues. The creative communities are not interested in relitigating SOPA or PIPA – we are only interested in protecting the rights of artists everywhere.

I have news for Kurt and all the other well-meaning high profile creators out there: No one gives a toss what you have to say except your own ilk. We complained about this for years and as a result, Google has banned Adland from using Adsense, leaving us with no choice but to run a fundraiser. Thanks to all you lot who donated. But Kurt, I need to remind you what the President said: you didn’t build that. You had nothing to do with Youtube, Facebook, Megaupload, Napster or mp3.ru or Putlocker. They built it, you didn’t. And the kids flocked to the internet believing it was up for grabs, while Google made untold fortunes placing human trafficking ads on sites pirating content. You blaming lawyers, who cash checks from Google, is nice and all but some are currently running our government. This is true in the U.S. and globally. It makes you wonder in this climate how much traction little hashtag movements like #IRespectMusic can ever really have. For every well-meaning fan or person willing to hold up a sign on twitter naive enough to think this works, there are scores of well-funded lobbyists and lawyers with a veritable army to shut your child’s play game down. Google is the same company that was smart enough to set up lobbying shops in Germany to lay the groundwork in 2012. Europe, by the way, still cares about this stuff, or at least the taxes they believe they aren’t getting which is also a valid criticism, hence France’s decision to raid a Google office this past May.

But this is nothing new. I will tell you what is new.

Hit show creators and Major Label Musicians: You have a great voice. But I now believe this fight is over. Or at least, it won’t be won by you or the RIAA or anyone else who makes really shitty looking ads. (Did I mention that already? That ad was hideous.) No. We must look to the future, and the future is a generation of content creators who have embraced Youtube, and made it what it is, and spawned its lucrative offshoots and have finally woken up to the fact that being internet famous is nice and all but doesn’t pay that well without sponsorship, and have finally started to realize what it’s like to have their hard work taken by the ever hungry content monster. This is the group of Youtube creators writing change.org petitions demanding Advertisers to Stop Supporting BuzzFeed Video’s Idea Theft. The same group calling Facebook liars and cheaters, for “stealing from content creators by not putting more effort and providing more tools to identify illegally uploaded content,” in order to monetize them in the process. The content creators understand that in this war between Youtube and Facebook, they are the golden pawns. If enough of them speak out, they might have the power to affect change.

If you had consulted us at Adland to work on any campaigns you would understand that but alas, you haven’t. As advertising professionals who create content on a daily basis (as well as for this site) we understand the first rule reaching people in digital isn’t through a banner ad we already know is fraudulent and prone to malware. And it isn’t through a well-meaning hashtag campaign that engages people at random. No, it’s by using influencers to talk to the right audience. If more people are watching Let’s Play videos than playing vide games every month, which is a fact, those content creators have a lot of clout. If a teenager’s favorite Youtube star who is closer in age and is therefore a peer raises a stink, their followers will mobilize in ways that would scare the pants off of Silicon Valley.

If you care about content creation for everyone and not just yourself or your chosen field, and if you’re smart, you’ll give the influencers the microphone. Let the ones who create the content that was made for the channel do the talking. Keep your ego in check and turn the spotlight on them. They understood the media well before you ever came around to it, after all. While you’ve been yelling at the kids to get off your lawn, those kids have gone and created a genre of content with an arguably bigger spotlight. Chew on that before you write your next rebuttal to a Google shill.

French road safety Sécurité routière #Toustouchés / #Allaffected (2016) :30 (2016)

French road safety Sécurité routière #Toustouchés / #Allaffected (2016) :30 (2016)
As France revs up to slow down in the summer break, Sécurité routière French road safety – continues their campaign to highlight the absurd risks of driving too fast. In February “Shockwave” showed the real shockwave of a collision, all those lives shattered, ended and affected by a single crash. For only a small gain in time, such as 7 minutes for a journey between Paris and Lille if you’re 10kms/h faster, the consequences of a crash are hugely disproportionate.

The campaign, currently airing on TV, with billboards and other OOH already up shows the graphic chain reaction of a crash, reminding everyone that we are #allaffected by a crash. The dramatic effect of flying bodies is not simple gore, it’s to remind you of all the people who are not in the crash who are affected by the crash. The billboards shows bodies flying through the air, trailing a speeding car.

However due to the horrible truck attack in Nice, with so many children hurt or dead after a truck literally targeted people enjoying fireworks on the boardwalk, this campaign may have to be rescheduled or pulled completely from the air.

Sécurité Routière – The Sunshine Highway – France anti speeding poster

The summer campaign version of Sécurité Routière’s All affected campaign, which shows the real effect of speeding, so many lives are affected by a single collision. This campaign is called « The Sunshine Highway » and the film with it follows the same flying bodies idea as the earlier film “Shockwave”.

Golpe de Estado na Turquia tira CNN local do ar, mas emissora continua através do Facebook Live

CNN

É possível ouvir gritos e explosões ao fundo

> LEIA MAIS: Golpe de Estado na Turquia tira CNN local do ar, mas emissora continua através do Facebook Live

Brainstorm9Post originalmente publicado no B9
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In Ex-Fox Anchor Harassment Case, Accusations of ‘Judge Shopping’

Lawyers for Roger Ailes, Fox News chairman, want the case heard in federal court in Manhattan, not New Jersey. Both sides accused the other of seeking a more favorable venue.

“Caça-Fantasmas” aposta na nostalgia, mas não esquece a representatividade

Ghostbusters

Com provocações direcionadas aos misóginos da internet, Paul Feig mais uma vez transforma um universo dominado por homens em um espaço ocupado por mulheres

> LEIA MAIS: “Caça-Fantasmas” aposta na nostalgia, mas não esquece a representatividade

Brainstorm9Post originalmente publicado no B9
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Comercial japonês cria cidade de papel com caneta que conduz eletricidade

agic

AgIC Pen permite desenhar circuitos em placas eletrônicas

> LEIA MAIS: Comercial japonês cria cidade de papel com caneta que conduz eletricidade

Brainstorm9Post originalmente publicado no B9
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Apple, in Seeming Jab at Spotify, Proposes Simpler Songwriting Royalties

Apple proposed that streaming services pay 9.1 cents for every 100 plays of a song. That would significantly increase what its rival Spotify pays.

See All the 2016 Emmy Nominees for Outstanding Commercial


The Ad Council, Honda, Gatorade, Google and Snickers made the Academy of Television Arts and Sciences’ 2016 list of nominees for Outstanding Commercial.

This year’s lineup includes Ad Council’s viral hit via R/GA, “Love Has No Labels,” featuring skeletons in love who turned out to be unexpected couples. RPA’s artful papercraft spot illustrating Honda’s “Power of Dreams” tag also made the cut, while Google and 72andSunny were recognized for the search giant’s 2015 annual review, set to Caitlyn Jenner’s powerful ESPYs acceptance speech.

The 2016 nominees saw return visits from a pair of brands and agencies. Gatorade and TBWA/Chiat/Day L.A., which were nominated last year for their poignant farewell to Derek Jeter, were honored for another emotional goodbye, this time, to the retiring Peyton Manning. And Snickers and BBDO New York, nominated last year for their Super Bowl “Brady Bunch” spot, were again noticed for this year’s big-game “You’re Not You When You’re Hungry” ad, this time starring Willem Defoe as a cantankerous Marilyn Monroe.

Continue reading at AdAge.com

Roundhouse Throws Caution To The Wind, And A Copywriter To The Wolves

To celebrate its 15th year in business, Portland agency, Roundhouse, is preparing to drop copywriter Lee Kimball along Oregon’s wild and scenic Lower Crooked River. Why would they do that? To see if the writer can survive one week in the wilderness equipped with only the help of the agency’s clients’ products. “All creative agencies […]

The post Roundhouse Throws Caution To The Wind, And A Copywriter To The Wolves appeared first on AdPulp.

A Brief History of Political Candidates and Video Games


Hillary Clinton’s campaign has invited Pokmon Go-crazed swing-staters in Ohio to register as voters while grabbing PokBalls at an official event on Saturday.

“Join us as we go to the Pokestop in Madison Park and put up a lure module, get free pokemon, & battle each other while you register voters and learn more about Sec. Hillary Clinton!!!” declared the campaign in a promo for the event in Lakewood.

Yes, the former Secretary of State appears to be the first political candidate to jump on the Pokmon bandwagon.

Continue reading at AdAge.com

Fiction: A New Novel Envisions a Very Cold Environmental Future, Starting Now

Jenni Fagan’s “The Sunlight Pilgrims” sets a story of impending cataclysm at a moment unnervingly near at hand.

Portal A Spoofs Tronc Media’s Horrific Employee Video

You guys remember the announcement about the formation of Tronc, the entity formerly known as Tribune Publishing which proved once and for all that media people can come up with shitty names just as well as ad agency folks.

Along with that nonsensical name change came a video … and what a video it was, dear readers. It’s the future of content if by “content” you mean soulless, uninteresting crap.

This is real and it is terrifying. Hide your children. Hide your pets.

Tronc may have anticipated everyone and his mom talking shit about that effort, because they disabled the comments on YouTube. But the takes still poured in hot and fast.

Enter Portal A, the content production unit you may know for its spoof of that TBWA Airbnb ad and its own campaigns like this WTF? group dance effort for Lenovo. (That budget, though.)

In another attempt to bring attention to its own production capabilities, Portal A has created a spoof of the above attempt to convince someone that the automation of journalism is upon us. It’s appropriately titled “TRONC: What the ACTUAL fuck.”

See, we find the same things insufferable!

In case you didn’t get it, this is part of the Ad Hoc project, which is a sort of side thing that Portal A uses to promote itself by making fun of the work of others. The most successful Ad Hoc video to date mocked Dove’s “Real Beauty” campaign.

As managing director Zach Blume puts it, “The AdHoc channel is a chance for our team to let loose, flex our comedy chops, and have some fun with the ad industry. We get to see the lighter side of the space every day, and these videos are a perfect outlet for that.”

Regarding the project in this post, he writes, “When we saw the Tronc video, we knew we had a Hall of Famer on our hands. We counted dozens of indecipherable buzzwords in a span of 90 seconds. Inspiring stuff. We began riffing on a script the moment after we stopped scratching our heads.”

We will now quote a character from a television show: “This is ripe for parody. This is ripe!” Good thing there are no thin-skinned people in the creative advertising or media industries.

Com o Flixtape você pode criar mixtapes de Netflix para o seu amor

Flixtape

Faça playlists de filmes para presentear alguém (ou a si próprio)

> LEIA MAIS: Com o Flixtape você pode criar mixtapes de Netflix para o seu amor

Brainstorm9Post originalmente publicado no B9
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Vídeo revela os bastidores de “Rogue One: Uma Histo?ria Star Wars”

Rogue One

Disney também liberou novo teaser poster do filme

> LEIA MAIS: Vídeo revela os bastidores de “Rogue One: Uma Histo?ria Star Wars”

Brainstorm9Post originalmente publicado no B9
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What Is a Constant Cycle of Violent News Doing to Us?

Nothing good. Experts suggested limiting your exposure to violent imagery and social media.

15 Fast Food Desserts – From Cookie Dessert Hybrids to Decadent Dessert Pizzas (TOPLIST)

(TrendHunter.com) These inventive fast food desserts explore some of the ways that the world’s largest chains are appealing to both kids and adults with a sweet tooth.

Classic items like pies, cookies, cakes…

McCann Wins the Global Lysol/Dettol Account

RB or Reckitt Benckiser Group plc has made some changes in its global agency roster, most prominently moving creative and strategic work on the massive Lysol brand from Havas to McCann in what amounts to a consolidation with the IPG agency. (This also applies to the Dettol brand, which is essentially a different name for the same product as sold in various international markets.)

McCann previously only handled creative and strategy Dettol in India while Havas worked on the brand across the rest of the world. McCann will now be the Dettol/Lysol brand’s global creative and strategic agency of record.

This decision followed a standard internal review at RB. Havas will retain a significant portion of the larger company’s business, but its focus will shift, in part, from promoting these particular cleaning products to acting as “lead strategic and creative partner for new strategic initiatives” for the parent company.

We hear that the shift occurred, in large part, due to McCann’s work for Dettol in India. It first won the business back in 2014 and went on to make ads like this one:

In the press release, EVP of global category development Roberto Funari says, “Dettol and Lysol are iconic brands and the quality of the strategic thinking and creativity we have seen from McCann has been outstanding. I would like to take this opportunity to thank Havas WW for their contribution to this brand over the last few years.”

In addition to the strategic initiatives assignment, Havas will continue to promote some of RB’s other unnamed “global power brands” as well as their local variations.

RB has been gradually sending more work to McCann. Early last year, the company consolidated much of its vitamins and supplements business with the IPG agency due to the work McCann New York did on the Mucinex brand, which it won in May 2014 (see internal memo).

RB spent about $36.5 million on measured media for the Lysol brand in the U.S. for 2015, but given the global reach this is a far larger win for McCann than that number might imply.

The Ad-Spending Gap Between Clinton and Trump Just Got Even More Insane


The Ad Age Presidential Campaign Ad Scorecard is sponsored by The Trade Desk

Editor’s note: Here’s the 22nd installment of the 2016 Presidential Campaign Ad Scorecard. The chart below represents a collaboration between the Ad Age Datacenter — specifically, Kevin Brown, Bradley Johnson and Catherine Wolf — and Kantar Media’s Campaign Media Analysis Group (CMAG). Some context from Simon Dumenco follows. –Ken Wheaton

“There’s never been a presidential election quite like this” has been a recurring bit of analysis uttered, with a mix of awe and exasperation, by political pundits ever since Donald Trump first started gaining momentum.

Continue reading at AdAge.com