Saatchi & Saatchi New York Introduces the ‘Tecate Beer Wall’ for the Presidential Debate

Saatchi & Saatchi New York launched a new spot for Tecate ahead of the presidential debate tonight, introducing the concept of the “Tecate Beer Wall.”

“The time has come for a wall, a tremendous wall,” the voicover begins at the beginning of the spot, as Tecate’s Black Eagle mascot soars overhead. Groups of men in Mexico and California gather, seemingly in opposition to each other. That is, until someone places a can of Tecate down on the 3-foot tall “beer wall” and the groups mingle over some cold brews.

The latest addition to the brand’s “Born Bold” campaign was shot outside of Tecate, Mexico, the border town that was the beer’s birthplace in 1955 (Tecate Light, the other beer featured in the ad, wasn’t added to the brand roster until 2007). It presents the wall, and Tecate, of course, as a means of bringing together those on both sides of the border.

“Tecate Beer Wall” will make its broadcast debut, appropriately enough, tonight on Fox News, Univision and Telemundo during coverage of the presidential debate between GOP candidate Donald Trump, whose border wall idea, subverted by the concept of the ad, has been a pillar of his campaign, and Democratic candidate Hillary Clinton. The spot may not be the smartest or most nuanced parody of Trump’s controversial proposal, but its timing will ensure it generates its fair share of attention tonight. The spot also marks Tecate’s first effort to expand beyond its core Hispanic audience with advertising targeting a more general market. 

“Tecate is using beer as the great unifier in developing a fun, lighthearted and clever commercial where friends from two bordering countries share a couple of Tecates over a wall,” explained Tecate vice president Felix Palau. “With this spot, Tecate is acknowledging an ongoing conversation, while raising a glass to beer’s uncanny ability to bring people together in a positive way.”

“This is a tremendous idea for Tecate. It really is the best idea. We worked with the best clients and hired the best people to work on it. Only the best. It’s terrific,” added Saatchi & Saatchi New York executive creative director Chris Moreira.

RTO+P Debuts First Work for New Client Speck

Red Tettemer O’Connell + Partners launched a campaign for its new client, smartphone case brand Speck, emphasizing the durability of its new Presidio line. 

The “Designed for Impact” launch campaign aims to show, directly, that the Presidio line of smartphone cases are better equipped to handle a beating than competitors. In “Falling Florals,” for example, a floral print version of Presidio handles repeatedly falling into bouquets given the liquid nitrogen treatment and emerges no worse for the wear. It’s very much an illustrative approach and while competitors aren’t shown for comparison (it would have been kind of cool to see a phone destroyed by the test), the message is abundantly clear: if you’re the kind of person who’s prone to dropping your phone, you might want to invest in one of these.

“Speck has a compelling design and innovation story rooted in quality products that consumers rely on to protect their mobile devices,” said Speck vice president, marketing Michael Burdeny. “We partnered with RTO+P to amplify this message and educate a broader audience on why all cases are not created equal.”

“Speck is an undisputed leader in the protective case space and we jumped at the chance to work with them to promote the launch of its newest product line,” added RTO+P president and CCO Steve Red. “Presidio’s launch gave us the opportunity to help Speck elevate its brand awareness and reinforce its position as the dominant player in the mobile industry.”

In addition to the spots, the campaign also includes a print component, a partnership on a Buzzfeed quiz and an interactive “Dropped” game in partnership with Undertone.

speck_ad_2_10
Credits:
Agency: Red Tettemer O’Connell + Partners
Chief Creative Officer: Steve Red
Executive Creative Director: Steve O’Connell
Creative Directors: Ari Garber, Mark Garman
Art Director: Jeremy Gilberto, Marta Kosseva
Copywriter: Jordan Briendel
Producers: Joe Mosca, Amy Mangus
Account Executive(s): Susan Baraczek, Chelsea Dubin, Kim Trubey
Photographer/Designer: Nic D’Amico

Production Company: Monogram
Director: Nic D’Amico
Director of Photography: Nic D’Amico

Music House: MilkBoy

We Hear: Ogilvy to Operate Under One P&L for All North American Offices

Publicis Communications recently raised some eyebrows with the latest step in its ongoing effort to remove as many of the dreaded “silos” as possible by arranging its agencies’ P&L (profit and loss) reports by country rather than by network.

This means, for example, that all of Publicis creative entities in the U.K. report to Saatchi & Saatchi CEO Robert Senior, acting in his capacity as a leader of the Communications group in that country rather than his role atop the Saatchi organization.

And it’s not just Publicis.

On September 15, sources tell us that Ogilvy & Mather global CEO John Seifert, who was named Miles Young’s successor back in January, sent out an all-staff memo essentially announcing that his agency would begin doing the same thing.

In what amounted to his formal introduction after assuming the roles of global CEO and chairman of the WPP shop at the beginning of this month, Seifert praised Young’s work and expressed optimism about the future of the Ogilvy brand while announcing that it would, moving forward, operate as one interlocking network in North America with all offices across disciplines (creative, media, PR, etc.) moving to the single P&L model.

As is the case with Publicis, it’s not quite clear at the moment how this shift will affect Ogilvy agencies in terms of day to day operations, and we do not currently know who will lead the North American entity.

But Seifert acknowledged in his memo that change — especially on this scale — can often be difficult, implying that the consolidation could lead to some trimming of the operational fat across Ogilvy’s many North American offices.

The general consensus among our tipsters holds that Seifert, like Arthur Sadoun at Publicis, is trying to “shake up” a model seen as staid and even antiquated. Arranging offices and teams by continent would theoretically allow for greater collaboration and ability to attend to specific clients — a sentiment that recalls talk surrounding the creation of Omnicom’s as-yet-unnamed McDonald’s unit in Chicago.

Ogilvy employees, however, still have some key questions. Chief among them: Who will be in charge? How will the resulting hierarchy operate, and how will the inevitable wins and losses be distributed?

VB&P Stages a ‘Duel’ for Audi in Time for the Debates

Venables Bell & Partners launched a new spot for Audi featuring one epic “Duel” playing out in reverse. 

The spot opens with “Vote” and “2016” buttons on the ground at some kind of elegant gala, with broken glass strewn about the scene. As the action proceeds in reverse a man and a woman rise from the floor and through the glass ceiling they’ve clearly just fallen through. From there a hard fought battle proceeds in reverse, with the device used to generate interest and add suspense to the reveal of the duel’s origins.

The clever concept of the ad would feel cheap and hollow had it been poorly executed, but it’s quite the opposite. If anything, the perfectly executed production, courtesy of Hollywood veterans like director Ringan Ledwidge, production designer K.K. Barrett (Her, Adaptation, Lost in Translation), cinematographer Greig Fraser (Foxcatcher, Rogue One: A Star Wars Story) and stunt choreographer Robert Alonzo (Deadpool, Tomorrowland, Oblivion) is what makes the spot work.

In addition to a reveal which champions the brand while somehow avoiding seeming as over-the-top as it should, the conclusion of the spot also manages to appeal to supporters of any presidential candidate with the line, “Choose the next driver wisely.” The ad, of course, will make its broadcast debut during coverage of the presidential debate tonight. It will also run during the two subsequent scheduled debates. 

Credits:
Client Name: Audi of America
Brand: Audi
Spot Name: Duel
Air Dates: 9/26/16, 10/9/16, 10/19/16
Agency: Venables Bell & Partners
Founder, Chairman: Paul Venables
Partner, Executive Creative Director: Will McGinness
Creative Director: Justin Moore
Creative Director: Erich Pfeifer
ACD/Copywriter: Matt Keats
ACD/Art Director: Matt Miller
Director Of Integrated Production: Craig Allen
Senior Producer: Matt Flaker
Producer: Gabby Gardner
Production Company: Rattling Stick
Director: Ringan Ledwidge
Director of Photography: Greig Fraser
Head of Production: Richard McIntosh
Executive Producer: Joe Biggins
Executive Producer: Jeff Shupe
Line Producer: Greg Haggart
Stunt Coordinator: Robert Alonzo
Production Designer: K.K. Barrett
Editing Company: Work Editorial
Editor: Rich Orrick
Assistant Editor: Mike Horan
Executive Producer: Marlo Baird
Producer: Brandee Probasco
Music Company: Woodwork Music
Music Composer: Philip Kay
Music Coordinator: Andy Oskwarek
Sound Design/Final Mix: The Sound Lab at Technicolor
Executive Producer: Debbie Gonzalez
Lead Sound Designer/Mix Engineer: Scott Gershin
Sound Designer: Johannes Hammers
VFX: The Mill
Executive Creative Director: Phil Crowe
VFX Supervisor: John Shirley
CG Lead: David Lawson
VFX Senior Producer: Anastasia von Rahl
VFX Associate Producer: Karina Slater
Colorist: Greg Reese
Head Of Brand Management: David Corns
Brand Director: Chris Bergen
Brand Supervisor: Justin Wang
Brand Manager: Abu Ngauja
Project Managers: Talya Fisher, Leah Murphy

Zambezi Promotes 2 New Creative Directors

Venice-based independent agency Zambezi named Ben George and Nick Rodgers as its two newest creative directors this week, promoting the ACDs who led the shop’s winning pitches for the Autotrader and Kelley Blue Book accounts.

Cox Automotive owns both of those brands, which Zambezi won them in the same late 2015 pitch after working on Autotrader on a project basis. (The client had been with Doner for 16 years.)

The two first began working together when Zambezi brought copywriter George onboard from Saatchi & Saatchi L.A. to work with Rodgers on the TaylorMade Golf account. After winning the Cox brands, the two then collaborated to lead the “recent millennial-themed campaign” for Autotrader, which has involved Instagram influencer executions and Olympics tie-ins and, of course, dating trends. Most importantly, they worked on the Star Wars socks. You know the ones.

Regarding the promotions, partner and ECD Josh DiMarcantonio said: 

“Ben and Nick are prolific creative thinkers who bring the same passion and commitment to every project they touch. They are a huge part of our Zambezi family and we are excited to see them grow and excel as creative leaders.”

Prior to writing copy for Toyota at Saatchi, George worked for CP+B Boulder (Burger King, Sprite, VW). Rodgers held art director/junior art director positions at Dailey and GS&P, where he contributed to the Sprint, Sonic, and Cheetos accounts, among others.

“What’s truly great about Zambezi is they really trust and empower their employees,” said George, calling Cox “one of the most collaborative and caring clients around.” For his part, Rodgers said, “I feel like I’ve grown up here. I’m excited to take on a bigger role and become a bigger part of this agency.”

We see a theme developing here: Stronger Together.

A Secret Agent Runs Into Customer Service Problems in GS&P’s Latest for Adobe

Adobe has made a habit of releasing new comedic spots from agency Goodby Silverstein & Partners for Advertising Week in New York and this year is no exception. “Secret Agent” is part of the agency’s ongoing “How’s Your Customer Experience?” campaign,  coming on the heels of “Billion Dollar Contract” earlier this month.

The spot, shot on location in Budapest, promotes Adobe Marketing Cloud as a hotel’s poor customer service lands one secret agent in a lot of trouble. Fresh off terminating his mark, the Bond-style character goes to check into the private penthouse he ordered with the hotel’s app, but then the hotel uses a bunch of apps, and the receptionist can’t seem to find any reservation under Hunter. He argues that the confirmation email was sent to his app, but she points out that marketing handles emails. When he pulls out the promotion he printed out from the website, she informs him that “promotions are on a different system” and things just go downhill for him from there.

Perhaps it’s just a symptom of the agency exploring similar themes for Adobe for so long, but something about the spot feels a little tired. It pales in comparison to the best of GS&P’s work for the client and feels more forced than its recent predecessor, even while hitting some of the same marks that have made similar entries memorable.

“Our latest Adobe Marketing Cloud campaign highlights how a very common problem for brands—the lack of connection between their different communication channels—can translate to a very serious problem for customers,” Alex Amado, vice presoident of experience marketing at Adobe, told Adweek

“When cross-channel marketing goes wrong, it’s bad news for businesses and consumers alike,” added GS&P creative director Will Elliott. “We wanted to show that all the bad guys in the world couldn’t defeat a secret agent, but a bad customer experience could.”

Advertising Week audiences will become well acquainted with the ad by the end of the week, as it’s set to run some 75 times before Advertising Week panels. There’s also an accompanying social media activation on site at Advertising Week. From there the spot will roll out in select markets to Comcast and DirecTV subscribers. 

Credits:
Client/Company: Adobe
Title of Creative Work: “Secret Agent”
Agency: Goodby Silverstein & Partners
Creative
Co-Chairmen: Rich Silverstein and Jeff Goodby
Chief Creative Officer: Margaret Johnson
Creative Director: Will Elliott
Creative Director: Patrick Knowlton
ACD/Art Director: Andrew Livingston
ACD/Copywriter: Simon Bruyn
Production
Director of Production: Tod Puckett
Senior Producer: Benton Roman
Account Services
Managing Partner: Brian McPherson
Account Director: Theo Abel
Account Manager: Chelsea Bruzzone
Assistant Account Manager: Zack Piánko
Brand and Communication Strategy
Director of Brand Strategy: Bonnie Wan
Brand Strategist: Etienne Ma, Andrew Mak
Director of Communication Strategy: Christine Chen
Communication Strategy Deputy Director: Dong Kim
Senior Communication Strategist: Victoria Barbatelli
Communication Strategist: Tara Hughes
Junior Communication Strategist: Nicole Bruno, Catherine Kim
Business Affairs
Business Affairs Manager: Heidi Kileen
Production Company
Company name: Biscuit Filmworks / Revolver
Director: Steve Rogers
Managing Director: Shawn Lacy
Executive Producer: Holly Vega
Producer: Kathy Rhodes
Head of Production: Mercedes Allen Sarria
Head of Production: Rachel Glaub
Director of Photography: Nicolas Karakatsanis
Production Designer: Tunde Csaki
Editorial Company
Company name: Arcade Edit
Managing Partner: Damian Stevens
EP: Crissy DeSimone
HOP: Kirsten Thon-Webb
Editor: Geoff Hounsell
Assistant Editor: Laura Sanford
Producer: Alexa Atkin
Telecine
Company name: The Mill NYC
Colorist: Fergus McCall
Senior Colour Producer: Natalie Westerfield
VFX/Finishing
Executive Producer: Leighton Greer
Senior VFX Producer: Will Unterreiner
Production Coordinator: Alex Benavente
Shoot Supervisor: Chris Mortimer
Creative Director: Tim Davies
2D Lead Artist: Tim Davies
2D Artists: Edward Black, Kelsey Napier
Music
Company name: Woodwork Music
Sound Design
Company name: Barking Owl
Sound Designer: Michael Anastasi
Creative Director: Kelly Bayett
Producer: Ashley Benton
Mix
Company name: Barking Owl
Mixer: Morgan Johnson

Monday Odds and Ends

-GS&P and Doritos collaborated on “No Choice,” which encourages young people to register to vote. But we wouldn’t blame them for choosing not to register after watching the upcoming debates.

-New York agency Catch will soon debut its first campaign for new client Curaçao Tourist Board. The work includes OOH subway posters, digital displays and a content partnership with travel pub AFAR.

-McDonald’s and Omnicom say their dedicated Chicago unit isn’t the agency of the future. It’s the “agency of the present.

-M&C Saatchi L.A. helped design an app for the Sacramento Kings that offers fans a more personalized experience.

-Doner London won a competitive pitch to promote the Huawei P9 smartphone in a campaign set to run in France, Germany, Italy, Spain and the United Kingdom.

-Digital consultancy Epsilon promoted former SVP of strategy and growth Richard McDonald to president of its internal agency in Chicago after he led the winning Del Monte pitch.

-London’s Stinkstudios (part of the wonderfully named Stink family) named Jon Lawton as its newest creative director. He previously worked in creative at Grey London and accounts at Wieden + Kennedy and BBH.

-Amsterdam and Stockholm-based shop Perfect Fools hired art director Emil Jonsson (formerly of Honesty Stockholm) as part of its recent expansion.

Ação em estacionamento mostra a simplicidade de um exame de próstata

exame_prostata_estacionamento

O preconceito com o exame de próstata ainda existe, e o assunto que no final das contas sempre vira brincadeira e acaba gerando dúvidas de como ele é executado. Para abordar de maneira madura e leve o tema a FCB Canada criou a campanha “The Parking Lot Prostate Exam Project“. Veja acima. A ação colou […]

> LEIA MAIS: Ação em estacionamento mostra a simplicidade de um exame de próstata

Oreo Is Now Making Tasty-Style Recipe Videos for Some of Its Stranger Flavors

If you’re looking for a low-calorie dessert that mixes avocados and chocolate, then Oreos has a video for you.

To promote new special-edition mint and strawberry-cheesecake flavors of the classic sandwich cookie, packaged-foods conglomerate Mondelez is now making its own versions of the BuzzFeed Tasty-style, hands-and-ingredients recipe shorts that have exploded across Facebook feeds in recent years—because clearly, there weren’t enough already.

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McCann Created an Escort Service That Had a Macabre Surprise for Anyone Who Tried It

Prostitution has always been fraught with the risk of violence, but today the internet provides broader scope and anonymity. Alongside the sense of entitlement that some people get when they pay for something, this both strengthens the industry while making it harder to see its victims.

That’s why French organization Le Mouvement du Nid launched its own escort website, with help from McCann Paris.

Wait, what…? 

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The Stars of Will & Grace Just Reunited for a Hilarious Pitch to Get You to Vote for Hillary

Can Will and Grace convince you to cast your vote for Hillary Clinton this November? 

A new mini-reunion episode of the sitcom that starred Debra Messing, Eric McCormack, Sean Hayes and Megan Mullally appeared just hours before tonight’s debate. 

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Dentsu Notifies Client Toyota of 'Irregularities' Around Media Transactions in Japan


Toyota says its longtime advertising partner, Japanese agency giant Dentsu Inc., has informed it of “irregularities” related to some digital media business transactions. Reports have said the problem was about a division of Dentsu in Japan overcharging the automaker.

A statement from Dentsu did not describe what the problem was but suggested that it extended to other clients as well.

“This is an issue confined to Dentsu in Japan,” Dentsu Inc. said in the statement. “We are taking this matter extremely seriously and investigating the issue to fully understand the facts. All clients who may have been impacted have been communicated with already.”

Continue reading at AdAge.com

Read Dentsu's Full Statement About Overcharging Clients in Japan


After quietly investigating “inappropriate operations” at its digital ad businesses in Japan, Dentsu Inc. on Friday, it announced some preliminary results: It found that 111 of its clients had been affected, and identified 633 suspicious transactions amounting to $2.3 million.

See Ad Age’s story here. Dentsu’s full statement follows:

This is an issue confined to Dentsu in Japan. We are taking this matter extremely seriously and investigating the issue to fully understand the facts. All clients who may have been impacted have been communicated with already.

Continue reading at AdAge.com

What You Need to Know About Social Media in Nine Easy Charts


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Business Insider Testing a Reader Paywall, and an Ad-Blocking Response


Business Insider, according to co-founder and CEO Henry Blodget, has long harbored ambitions to create a dual-revenue business model, buoyed by both advertising and subscriptions.

The company plans to test those ambitions, starting this week, with a “small,” randomly selected group of readers, who will be prompted to subscribe to Business Insider. As is standard with so-called metered paywalls, the readers selected for this test will get an allotment of free articles. Multiple meter levels will be tried, starting at 10 free stories. For those impacted, the meter will re-start every 30 days.

These selected users will see the subscription message three times, at the beginning of the test, at the mid-point of their free story allotment, and with one story remaining.

Continue reading at AdAge.com

The Hacker Candidate: Trump Is a One-Man DDoS Attack on the Media


The idea that Donald Trump is a carrier of a virus that has infected our body politic has been an enduring subtext of the current presidential election cycle.

In an August 2015 piece titled “The Trump Virus and Its Symptoms” published by the National Review, the conservative magazine founded by William F. Buckley, Charles C. W. Cooke wrote about how “those who have been stricken soon come to believe in earnest that there is no such thing as a fair-minded or legitimate criticism of their swashbuckling charge, and that all embarrassments, mistakes and inadequacies are in fact signs of imminent victory.”

In June of this year, in a Huffington Post piece titled “Trump, His Virus and the Dark Age of Unreason,” Bill Moyers and Michael Winship wrote that a virus that “feeds on fear, paranoia and bigotry” has existed throughout American political history (McCarthyism was one strain) and that “today its carrier is Donald Trump.”

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Time Inc. Creating 'Digital Desks' and Magazine Hubs


In a “progress report” memo to Time Inc. editorial staff, Chief Content Officer Alan Murray on Monday announced the formation of 10 digital desks that will be dedicated to topics including business, celebrity, entertainment, food and sports.

“The job of each desk will be to cultivate and grow our digital audiences in its area,” Mr. Murray said in the memo, which was obtained by Ad Age. “The desks will include reporters and editors from different brands who will continue to work for those brands, but the desk heads will coordinate their efforts to help Time Inc. innovate and grow.”

Mr. Murray, in an interview back in July, when he was appointed to the top editorial role, said a priority would be figuring out how to better organize the company’s disparate brands and pool resources where it makes sense. “It’s not clear that the best way to attack that market is always with a single magazine brand,” he told Vanity Fair at the time. “We have all these different lifestyle brands. What this new structure lets us do is ask, is there a way to put all of our lifestyle content together or all of our health content together or all of our news content together in a way that better serves the mobile, social audience better?”

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Trump Camp and RNC Say This Facebook Ad Onslaught Was Risky


For months Donald Trump’s campaign has been criticized for choosing to work with a digital agency that has no political campaign experience, but insiders on his team say that’s been a blessing in disguise. It’s helped drive a risk-taking approach to digital advertising, they say, that has propelled the campaign to capture 95% of its fundraising transactions from small-dollar donations — those of $200 or less.

Working closely with the Republican National Committee, the campaign and its digital team at San Antonio-based web shop Giles-Parscale flooded Facebook with a outsized array of ad variations aimed at different targeted audiences, resulting over one day in August in more than 100,000 varieties.

“This number should shock people, should cause disbelief,” said Gary Coby, director of advertising at the RNC. On an average day the campaign uses a similar approach resulting in around 35,000 to 45,000 Facebook ad iterations.

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ABC Takes a Hit on Final Night of Broadcast TV's Premiere Week


After getting off to a promising start, the first official week of the 2016-17 broadcast TV season ended with a dull thud, as viewers on Sunday night largely ignored the networks’ scripted efforts.

ABC’s Sunday night lineup took a particularly big hit, as the network’s primetime (7 p.m.-11 p.m.) deliveries were down 34% compared to its year-ago fast national results. The sixth season premiere of “Once Upon a Time” drew 3.89 million viewers and a 1.2 rating, which translates to around 1.54 million viewers, down 33% from last season’s opener (1.8). At 9 p.m., the return of “Secrets & Lies” drew a 1.0 in the demo, down four-tenths of a point compared to last season’s series premiere of the short-lived “Blood & Oil,” while “Quantico” lost nearly half (47%) of its 2015 debut rating, plummeting from a 1.9 among adults 18 to 49 to a 1.0.

While “Quantico” returned to a rather lukewarm reception, the show boasts an unusually high conversion rate in the C3 currency. In its freshman season, the FBI potboiler improved from a 1.2 in live-plus-same-day to a 1.7 in C3. The first batch of C3 data should be available on or around Oct. 17; watch this space for an exclusive look at the currency numbers for premiere week.

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Disney Said to Be Working on Twitter Bid


The Walt Disney Co. is working with a financial adviser to evaluate a possible bid for Twitter, according to people familiar with the matter.

After receiving interest in discussing a deal, Twitter has started a process to evaluate a potential sale. Salesforce.com Inc. is also considering a bid, working with Bank of America on the process, according to other people, who declined to be named because the matter is private.

Representatives for Twitter and Disney didn’t immediately respond to requests for comment.

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