Each person have a different Kind of Love to give. If we imagine it like an Animal Instintc we can segment love in species “Straight, gay, lesbian, passionate like condoms skills Retardant, XL, texturized, etc”. In artistic vision we fusioned animals with human sex intentions in this campaign.
(TrendHunter.com) Creating a fire in a camping site or anywhere for that matter will often char the ground, so the Kamoto ‘OpenFire’ camping fire pit is positioned as an alternative piece of equipment to…
Category: Beyond Madison Avenue
Summary: More than 200 agency executives from shops of all stripes are in Nashville this week for the Digiday Agency Summit to discuss the biggest issues facing them in the space.
We asked them to tell us what was on their minds so we could, quite literally, map it out. For some, this isn’t anything new: Agencies, said one agency executive, have been “transforming” for their entire histories.
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DesiCreative – Indian Advertising Creative Blog and Community (beta 1.4)
Advertised brand: American Express
Advert title(s): Amex Black
Headline and copy text (in English): Amex Black – This gatefold spread demonstrates the buying power of an Amex Black Card.
Media (see available options below): Print
Advertising Agency: Miami Ad School
Creative: Kien Quan
The post America Express by Miami Ad School Students appeared first on DesiCreative.
HP has shifted its global digital media business from WPP’s Essence to Omnicom’s PHD, which already handles the brand’s traditional media account.
According to an HP spokeswoman, the company is “continuing its marketing reinvention by consolidating its media and search spend with Omnicom’s PHD.”
“This change helps to create competitive advantage in the way we develop creative work while leveraging data and insights to improve marketing effectiveness,” the spokeswoman added. “It also helps us to improve our cost structure so that we are able to continue to invest in marketing innovation.”
Mr. Rubinger, an Austria native who fought in 1948 for Israel’s independence, is known for a photo of paratroopers gazing at the Western Wall during the 1967 Arab-Israeli war.
-Forget internships: Toronto agency Zulu Alpha Kilo is offering a $40,000 a year “Employeeship” (video above).
-Resource/Ammirati, Edelman and Huge weigh in on Snapchat as a brand platform.
-Deutsch promoted Rachel Mercer to head of digital strategy and invention.
-Former Olson chief creative officer Dennis Ryan is no longer CEO of Chicago-based Digital Kitchen.
-Mortenson Safar Kim of Indianapolis hired Sarah Kruse, formerly of FCB Chicago, as vp of strategy and planning.
-Boston-based, finance-focused agency BackBay Communications promoted Jen Dowd to COO.
-After CBC Marketplace released a DNA analysis study finding Subway’s chicken products may contain over 50% soy, the fast food chain released a study of its own, conducted by independent laboratories, which found less than 1% soy. Whatever it is, it’s disgusting.
–Laura Chiavone left DM9DDB in Brazil to join Tribal Worldwide as chief strategy officer.
-Atlanta agency Hothouse hired hired former Ogilvy global business manager Jay Cronin to lead client services and executive producer Shawn Clark to lead its video and branded content division.
(TrendHunter.com) With consumers leading increasingly busy lives and living in increasingly smaller spaces, futuristic kitchen designs have been created to fit contemporary needs.
One of the ways that architects and…
Back in December, the Wall Street Journal broke news that the Department of Justice had launched an investigation into “bid rigging,” or the process by which certain agencies (allegedly) make things more difficult for both clients and production/post-production companies by lying about rates or making deals to score more contracts.
We later learned, via public statements, that all four of the largest holding companies had been subpoenaed as part of this probe.
Since then, the story has pretty much gone silent in terms of press coverage. But there has been movement within the industry and its various representative bodies.
Earlier this week, both the AICE and the AICP (which are completely separate organizations that happen to share an office building) released internal memos to members updating them on recent developments.
In short, the investigation continues despite the fact that Jeff Beauregard Sessions now runs the DoJ.
From the AICE memo, which begins with a summary of the events to date:
“As a trade association, AICE’s policy is to refrain from commenting on the investigation itself but rather to focus on our continued push to raise awareness among advertisers about transparency issues in an effort to affect change in the non-transparent practices employed by ad agencies with in-house capabilities.”
In what may be the most significant development, the Association of National Advertisers has quietly created a Production Transparency Task Force. So far, it has amounted to a series of webinars and meetings dating back to the month before the DoJ news went public, with the AICE invited to one event to present its own concerns about competition between agency production departments and independent shops. The memo continues, “The task force expects to complete their work soon and should have findings to share at some point this spring.”
This sounds quite similar to the Task Force on Media Transparency, which launched as a joint effort between the 4A’s and ANA in 2015. The former organization split from the pair last January and issued its own recommendations, which the ANA quickly called “premature.” ANA has also maintained a Production Management Committee for years.
On the bid rigging front, the ANA plans to “recommended contract language” that clients can use to prevent agencies from attempting to score production work without their direct knowledge.
The AICP has already drafted its own suggested language, taken from a separate note sent to members this week:
“[Production Company] is submitting this bid with the understanding that the Agency is soliciting bona fide, competitive bids and that the Agency is not soliciting a “Complementary Bid,” which is deemed an illegal, anti-competitive bidding practice according to the US Department of Justice. Furthermore, [Production Company] is submitting this bid with the understanding that to ensure a fair and non-conflicted bidding process, no entity in the bidding pool, directly or indirectly, is a parent, subsidiary, division, affiliate or sibling of the Agency.”
This January, ANA held a Transparency Day “designed to educate advertisers on several transparency-related issues.” Approximately 35 top marketing executives attended and said that “they are now paying very close attention to this issue,” and the AICE memo also claims that several individual companies have reached out to that organization seeking more information. It goes on to recommend that members should ” be wary of requests for any bid submission that feels like it might be solicited by the agency merely as a way of satisfying client requirements and does not represent an honest and fair opportunity to win a project.”
An ANA spokesperson declined to comment for this post, as did a rep for AICE.
But we hear there’s a mood of cautious optimism among the production community, with some hints of agencies complying with the groups’ proposed guidelines. According to at least one party, some post-production companies have recently scored contracts with clients who did not realize that their agency partners were giving themselves all related work until the news broke in December. We also hear that production consultants have looked to take a more active role in the process over the past two-plus months.
The Department of Justice itself has not announced any new developments in the investigation. But they didn’t announce the subpoenas, either. That’s just not how they roll.
In other news that everyone already knows, a longtime veteran of the production and post-production industries recently told us that, back in the day, related budgets would often include an item labeled “lumber” that was commonly understood to be shorthand for cocaine.
The more things change, etc.
Mr. Martin photographed a Nixon-Kennedy debate, as well as Kennedy’s funeral and the Rev. Dr. Martin Luther King Jr.’s march to Montgomery, Ala.
FAKE ADS: they’re are an even greater threat to the world at large than fake news.
There are obviously completely fake ads and then there are debatable entries like the recent David Miami print campaign for Burger King, which was not awards bait scam since the client’s PR told us today that it really did run … somewhere in Argentina.
Copywriter Eoghan O’Driscoll of VICE Madrid and lead creative Sandy McIntosh of Dubai’s insydo do not really have a solution to this problem.
They did, however, create a website to poke fun at the practice. The Cannes-O-Matic calls itself “The World’s First Ever Scam-Ad Idea Generator,” but it’s more a URL that will amuse you for a minute or two by randomly producing such case study-worthy ideas as this one:
And this one:
And this one:
Here’s their explanation of the project:
“As advertising creatives it’s pretty frustrating to see ideas made just for festivals win year after year, when some don’t run or don’t even work. It looks bad on the industry.
We created Cannes-O-Matic to shed light on this problem in a light-hearted way. After hours and hours of trawling through awards archives we created a generator that, at the click of a button will generate an idea that seems like all the others made for festivals.
This is our quirky way of showing how ridiculous it is to make ideas just to win awards, ideas with no real value. It’s a kick in the balls to all creatives when we see an undeserving winner walk away with a lion—or any other award.”
It’s almost as distracting as the Endless Hall of Gyllenhall.
If we might make a bold guess, though, there will still be plenty of scam entries at this year’s Cannes Festival.
Cutwater launched a “#StrengthHasNoGender” campaign for Brawny in honor of Women’s History Month (that would be March).
The anthem ad “Breaking Barriers” spotlights a series of barrier-shattering women throughout history, including Harriet Tubman, Susan B. Anthony and Marie Curie. A voiceover announces that every time such a barrier is broken, “women prove strength has no gender,” as the tagline appears onscreen.
More engaging is the digital series documenting less well-known barrier-breaking women, such as Vernice Armour, the first black female fighter pilot in the U.S. Marine Corps who dons the brand’s trademark flannel in the spot. Armour describes how she knew her life had changed when she first learned that the Pentagon had been attacked. She became an officer in 1998 and it wasn’t until she walked in to the ready room for the first time that she even realized her pioneering status. “Today there’s no way you can take women out of the fabric of the Marine Corps,” she concludes, “because our military is stronger with women in it.”
The spot concludes with the lines “#StrengthHasNoGender” and the message “Stay Giant.”
Other ads in the series highlight the accomplishments of Dr. Anna Kornbrot, the first female student to graduate from her Ivy League college, Brittany Wenger, the self-taught coder who invented The Cloud 4 Cancer program to diagnose breast cancer and Dr. Patty Lopez, a datacenter engineer who has been awarded seven patents.
The campaign will also feature a notable packaging component and a $75,000 donation to Girls Inc., which encourages girls to pursue STEM degrees and careers.
“The biggest, most courageous piece of it was, we are going to put a woman on these packages and make them available for everyone. I always think it’s fun when packaged goods clients are hip enough to change something and offer something special, kind of like when Coke put names on its cans,” Cutwater CCO Chuck McBride told Adweek.
Credits:
Agency – Cutwater
Chief Creative Officer – Chuck McBride
Associate Creative Director – Aaron Sanchez
Art Director – Nathan Lewis
Art Director – Rebecca Schefkind
Copywriter – Jay Brockmeier
Executive Producer – Michael Huntley
Content Producer – Robbie Weidie
Producer – Kimberly Grear
President, Principal – Christian Hughes
Group Account Director – Coleen Karkazis
Account Director – Greer Gonerka
Client: Brawny® – Georgia-Pacific, LLC
Gary Gastel – Senior Brand Director
Shari Neumann – Senior Director, Content Lead
Santiago Arboleda – Director, Brand Building Leader
Frances Morgan – Senior Brand Manager
Joel Potts – Senior Associate Brand Manager
Breaking Barriers Credits
Scheme Engine – Production Company
Executive Producer – Sheira Rees-Davies
Producer – Cisco Newman
Director – James Larese
DP – Sing Howe Yam
Triggr & Bloom – Post Company
Color & VFX – Triggr & Bloom
Post Producer – Monica Blackburn
Editor – James Larese
Interview Video Credits
Mat Guido – Blast
Director – Alison Klayman
Line Producer – Dana Popoff
Editorial Company – Beast
Editor – Doug Walker
Color – Dave Burghardt
Executive Producer – Jon Ettinger
Assistant – Seth Andrews
Back in June, Grey London CCO Nils Leonard, who was also named a chairman back in 2014, left the agency along with CEO Lucy Jameson and managing director Natalie Graeme. A statement explained that Leonard was leaving to “start a new venture.”
Well, if you’ve been wondering what Leonard could possibly be up to since leaving Grey behind: wonder no more. He’s launched a new coffee company, along with partners Richard Hardwick, David Foster and Andrew Richardson, called Halo, which Adweek describes as producing “the world’s first fully compostable coffee capsule for home coffee machines.” The capsules are compatible with home Nespresso machines (Richardson is a former Nespresso director) and include premium coffee varieties formerly unavailable in that format. So, all jokes about the crowded coffee market aside, Halo does have a unique angle at least.
Of course, there’s an ad announcing Halo’s arrival. The 60-second spot focuses on the environmental impact of typical, non-biodegradable coffee capsules, before informing viewers there’s now an environmentally-friendly alternative and concluding with the tagline, “The world’s best coffee. In a way that’s best for the world.” (A tad misleading since a French press doesn’t require a pod or filters.) There’s also a separate launch anthem.
“My theory is that within a year everyone will be using biodegradable pods,” Leonard told Adweek.
“It should be fucking illegal. I mean, it’s insane,” he added, in reference to non-biodegradable pods, whose inventor, John Sylvan came to regret their creation. “The stats are sickening. So, I think in a year that will be the case, and then it’s about who has the best coffee. And I’d say that would be us.”
Leonard didn’t want a typical launch campaign for the product.
“I was desperate with the guys, when we sat down, to say, look, I don’t want to do advertising,” he told Adweek. “I don’t really want to make any advertising at all. What I want is for the product to be the advert for itself. And I think that’s where we are.”
It sure seems like they made an ad (or two), though. And Leonard is expected to renter the ad industry in some sort of new venture alongside his former Grey chairmen in the near future. Until then, though, he’ll be focused on Halo — and presumably drinking a lot of coffee.
(TrendHunter.com) The Jiusko luxury mens watches are crafted from quality materials to make them look and operate like high-end timepieces yet feature a price tag that is far more affordable.
The Jiusko timepieces…
Snapchat has revealed how big its NFL audience is for the first time since solidifying its extensive partnership with the league, which drew 42 million unique viewers last season, according to the company.
The messaging and media app shared the numbers ahead of its public offering on Thursday, offering a glimpse into one of its key media relationships, which brings content and ad revenue to the platform. Snapchat went public with close to 160 million daily users and $400 million in ad sales in 2016, and it was valued at almost $30 billion once its stock started trading — that’s more than double what Twitter is worth on Wall Street.
“With Snapchat, we saw this company that was growing quickly and it was reaching this growing audience of young people,” said Blake Stuchin, NFL’s director of digital media business development. “And it’s a very engaged audience of young people and a different form factor than you see in other places.”
Internships are mostly about trading free labor for job experience. But Toronto agency Zulu Alpha Kilo is taking a different approach to internships this year–turning them into employeeships, where two soon-to-be or recent grads will get real jobs at the agency, with real salaries. “We were inundated with an overwhelming amount of intern requests this…
Every weekday, we bring you the Ad Age/iSpot Hot Spots, new and trending TV commercials tracked by iSpot.tv, the real-time TV ad measurement company with attention analytics from 10 million smart TVs. The New Releases here ran on TV for the first time yesterday. The Most Engaging ads are ranked by digital activity (including online views and social shares) over the past week.
Among the new releases, job site Indeed asks “What would make 10-year-old you proud?” while hockey great Martin Brodeur ticks off all the ways rental car company Enterprise is useful in his life. And Kohl’s serves up an inspiring ad designed to call attention to the fact that it’s now carrying Under Armour products. (Ad Age’s Adrianne Pasquarelli has the backstory: “Kohl’s and Under Armour: Behind the Biggest Brand Launch in Kohl’s History.”)
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
