Unilever has said it will cut the number of agencies it uses by half as part of a new plan to make €2bn annual efficiency savings in its brand and marketing spend by 2019.
Last month, BBDO turned to comedian Dan Finnerty for a March Madness campaign promoting AT&T’s DirecTV service. For the latest in its “The Power of &” campaign for AT&T, which it introduced a year ago, BBDO New York gets a little more serious.
The 30-second broadcast spot “Rise Up” features AT&T sponsored pro-golder Jordan Spieth, but the real star of the ad is veteran Saul Martinez. Martinez tells the story of how he lost his legs in combat but in the process discovered, “that I have no limits.”
Set to the Andra Day song of the same name, the inspirational “Rise Up” shows Martinez golfing with Spieth (and hitting a pretty good drive from the looks of it), concluding with the message, “AT&T is proud to salute veterans with 20,000 jobs by 2020.”
The 60-second “Salute to Service” shows Martinez handily defeating Spieth in a competition to see who can do thirty push-ups the fastest and a behind-the-scenes video further explores their day golfing together. Spieth’s third collaboration with AT&T, the timely effort, like last year’s “The Power of &” launch spot, is timed to coincide with the PGA’s Masters Tournament.
Another spot in the campaign, the 30-second “Kid” looks ahead to the evolution of AT&T’s 5G network via a young boy and his future goggles. Think self-driving cars and VR dinosaurs and you’ve got the idea.
Credits:
Agency: BBDO New York
Client: AT&T Corporate Brand
Title: “Rise Up”
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Director: Matt MacDonald
Senior Creative Director: Simon Foster
Senior Creative Director: John Lamacchia
Managing Director: Mark Cadman
Senior Director: Mark Tillinghast
Account Director: Tracy Armstrong
Account Manager: Jesse Barnett
Account Executive: Claire McFarland
Assistant Account Executive: Katarina Sipan
Group Executive Producer: Julie Collins
Executive Producer: Helene Balzarini
Executive Music Producer: Melissa Chester
Business Manager: Ashley Lipham
Integrated Talent Supervisor: Dawn McCormick
Production Company: BOB Industries
Directors: Jonathan Dayton/Valerie Faris
Director of Photography: Corey Water
Executive Producer: TK Knowles
Production Line Producer: Bart Lipton
Editor: WAX Editorial
Editor: Stephen Jess
(Covering Editor: Joe Dillingham)
Producer: Annabelle Cuthbert
Telecine: TBS/Co3
Colorist: Tom Poole
Producer: Alexandra Lubrano
VFX Studio: Framestore
Executive Creative Director: Murray Butler
VFX Supervisor: Dez Macleod-Veilleux
VFX Artist: Greg Gaskins
Producer: Sue McNamara
Mixing Studio: Heard City
Mixer: Corey Melious
Producer: Sasha Awn
Media: Hearts & Science
President, AT&T: Ralph Pardo
Omnicom’s RAPP has named a new creative lead in its San Francisco office.
Mindy Sears recently rejoined the agency in the role of office creative director in a move that looks to further strengthen the Bay Area team after the January promotion of former managing director Anne Marie Neal to the role of president. Sears will now report directly to Neal.
“RAPP SF is built on the aspiration of bringing our data-driven heritage and creative innovation closer together,” read Neal’s statement. “The industry is hungry for that, and I don’t believe anyone has tapped into its full potential yet. Mindy has the passion and bravery to define that through the work, distinctively for RAPP.”
Sears first joined RAPP in L.A. as a senior art director five years ago and later moved to sister agency Organic to lead its digital Wells Fargo team. She appears to have come back to the agency several months ago to work on clients including Charles Schwab, eBay, Visa and Big Heart Pet Brands. During her 15-year career, she has also held art director positions at Grey, Integer and client-side with Westfield.
“There are two main reasons I came back to RAPP,”‘ said Sears. “The first is to help to build on the momentum in San Francisco. It’s been a story of growth since the office opened, just over 2.5 years ago—and I want to amplify RAPP as a collective for transformative, creative talent that wants to push the definition of great work. The second is to help champion female creative talent and leadership—there’s a huge opportunity to make a difference in this space. I am committing to changing that narrative, one mentorship and one hire at a time.”
In other RAPP news, the wrongful termination lawsuit filed last year by former U.S. president Greg Andersen continues to make its way through the California court system.
Former global CEO Alexei Orlov, who was the subject of that suit, resigned last June. Six months later, Marco Scognamiglio took his place.
In an age where people feel unsafe walking around because of the color of their skin, are afraid to hold their partner’s hand in public and wonder if coworkers with an Adam’s apple are making 20% more for the same work, it’s no surprise that Pepsi’s latest campaign fell flat and has now been pulled.
We live in an incredibly raw time. Emotions are high, and there are a lot of social causes and movements catching people’s attention. Because of that, many brands are trying to figure out ways to participate. While some, Like REI, thrive when it comes to speaking about issues like feminism, others — ahem, Pepsi — are struggling to find that line between marketing and meaning.
There is no more important distinction for a brand to make today: Are you part of the movement, or jumping on the bandwagon when it’s convenient? Choose carefully or you may find yourself under the wheels.
The Viral Video Chart welcomes a dose of flair this week with L’Oreal Paris’ “100 Years of Hairstyles.” As one would guess, the clip chronicles 10 decades of products and trends, highlighting everything from the first pomade for men (1920s) to finger curls (1930s) and the afro (1970s). Charting its debut at No. 6, the video has notched 7.5 million views, outpacing VVC regulars like Samsung and Wendy’s.
The Edge of the Earth. Climate Change in Photography and Video. Critical essays by author and historian TJ Demos and curator Bénédicte Ramade. Introduction by Director of Ryerson Image Centre Paul Roth.
Black Dog Publishing writes: Increasingly and forebodingly, contemporary artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. The Edge of the Earth: Climate Change in Photography and Video explores recent and historic work in the context of present-day environmental concerns, considering the future consequences of the age of the anthropocene, and humanity’s harsh imprint on our planet.
The Edge of the Earth accompanies a major exhibition at the Ryerson Image Centre in Toronto, and includes works by pioneering and renowned artists such as Edward Burtynsky, Naoya Hatakeyama, Richard Misrach and Robert Rauschenberg; critical propositions on present situations by Chris Jordan, Gideon Mendel and Brandi Merolla; plus visionary works by Jean-Pierre Aube, Adrien Missika, Evariste Richer and Andreas Rutkauskas. Photojournalism from the RIC’s Black Star Collection is also included, contextualising artistic reflections within half a century of historical reportage on the environment.
Paola Pivi, Untitled (Ostriches), 2003
Paul Walde recording sounds on BC’s Farnham Glacier. Photo: Pat Morrow
The Edge of the Earth is the most poignant, upsetting and stunning book i’ve read (so far) this year. The catalogue of an exhibition that closed recently at the Ryerson Image Centre in Toronto, it builds a visual iconography of climate change and of environmental repercussions so complex that they probably surpass our comprehension and control.
In her text, curator Bénédicte Ramade explains how the images selected for the show and the book offer far more than mere depiction of landscapes, natural (or rather man-made) events and hyperobjects. They add urgency and a more tangible dimension to phenomena that would otherwise be little more than headlines in newspapers and tragedies that happen to other people, they remodel our definition of environmentalism in the light of climate change, and force us to reassess our individual and societal responsibilities.
TJ Demos wrote a thoughtful essay on the visuality of the anthropocene. His concluding lines are particularly moving. He believes that it might not be the spectacular accidents caused by the fossil-fuel economy that should worry us the most but the silent, accident-free and uninterrupted march of the industry. This new normal background is the one that we should resist politically, civically, morally and economically.
Hicham Berrada, Celeste (video still), 2014. Photo courtesy Kamel Mennour, Paris
Whether they are of the documentary or the speculative type, the photos in the book often made me feel uncomfortable. How do you deal with the ambiguous emotions prompted by beautiful photos depicting ecological disasters in the making? What do you do with the anxiety and the feeling of being powerless that these images inevitably trigger? Should we put our fate into the hands of geo-engineers? Or should we take a step back and re-evaluate our understanding of innovation, progress and survival?
I’m going to let you weep over these questions and list below some of the most remarkable artworks i discovered in the book:
Andreas Rutkauskas, Oil!, 2013
Taking its title from a 1927 Upton Sinclair novel, the video Oil! introduces us to the early days of oil extraction in North America. The video follows the mechanism of a rusty jerker line system, developed in the 1860s and still used today to draw crude oil from the wells. The tranquil and trusty mechanism runs day and night, throughout the year.
Jean-Pierre Aubé, Electrosmog World Tour 2012, Mumbai (video still), 2012
Jean Pierre Aubé makes visible the electromagnetic fields that envelop a city. During his performances around the world, the artist uses radios, antennas and network computers to collect and record radiofrequencies, revealing the invisible presence of thousands of emissions from personal communications systems, security, commercial beacons and satellites.
Isabelle Hayeur, Chemical Coast 02, 2011,
Isabelle Hayeur‘s Underworlds series exposes the transformations of rivers, lakes and other aquatic environments. She dives into polluted waters with her waterproof equipment and reveals dying ecosystems and other man-made disturbances.
Paul Walde, Requiem for a Glacier (trailer), 2012-2014
Requiem for a Glacier honours British Colombia’s Jumbo Glacier area, a landscape leftover from the last ice age, under threat from global warming and resort development. The center piece of the project is a four movement oratorio scored for orchestra and choir that converts information such as temperature records for the area into music notation. It seems that the project of the resort has since been abandoned.
Julian Charrière Panorama Behind the Scene. Photo via Bugada and Cargnel
Julian Charrière Panorama consists of photographs seemingly depicting majestic alpine landscapes under various weather conditions. However, the images are the result of ephemeral interventions in various construction sites in Berlin. Using extracted soil that was covered by flour and fire extinguisher foam, the artist fabricated miniature, model Alps inspired by his native Switzerland in the middle of the city. The series questions not only how perception works, but also our fantasized relation to “Nature” and the sublime.
Benoit Aquin, Equestrian Statue of Genghis Khan, Inner Mongolia, 2006. From the series Chinese Dust Bowl
Chinese Dust Bowl documents one of the largest conversions of productive land into sand anywhere in the world. Today, 22% of the deserts located in China have been caused by human activities such as over-exploitation of arable land, overgrazing and increasingly deep drilling for water. The resulting dust is picked up by the wind and transported, in the form of giant sandstorms, all over China and into Japan, Korea and even North America.
Amy Balkin, The Atmosphere: A Guide, 2013-2016. Image via zkm
The Atmosphere, A Guide is a poster-essay depicting human influences on the sky and their accumulated traces, whether chemical, narrative, spatial, or political.
Visually referencing the Cloud Code Chart, another interpretive aid for looking up, the Guide visualizes some ways humans occupy present, past, and future atmospheres, from sea level to the exosphere.
Nicolas Baier, Réminiscence 2, 2013
Conceived using a 3D model based on climatological data, Réminiscence is a speculative photo that imagines the gas formation at the early ages of our planet.
Sharon Stewart, Outfall Drainage Ditch at the Union Carbide Plant. From the series Toxic Tour of Texas, 1988-1992
Texas has the largest concentration of oil refineries and chemical plants in the U.S. It also ranks first in the country in the amount of known or suspected carcinogens released by the industry into the environment.
Sharon Stewart‘s Toxic Tour of Texas is guided by farmers, priests, mothers, ranchers, engineers, nurses, teachers and other grassroots activists who are intent on protecting their homes and their communities from exposure to hazardous waste. Some of their actions reversed governmental decisions and halted harmful industrial practices.
Joel Sternfel, Robert Kofi Bamfo, Corporate Manager, Forestry Commission, Ghana. From the series When It Changed
In 2005, Joel Sternfeld attended the 11th United Nations Conference on Climate Change, in Montreal. Almost all the participants agreed that not only was climate change occurring, it was also about to reach a tipping point and become irreversible. His photos portray the delegates at the moment when the horror of what they were hearing was visible on their faces.
Gideon Mendel, João Pereira de Araúj, Rio Branco, Brazil, 14 March 2015. From the series Drowning World
Gideon Mendel has spent 8 years traveling the world, photographing people whose lives have suddenly been devastated by floods.
Peter Goin, Accelerated Erosion, July 1987, from the series Nuclear Landscapes. This canyon is in the South Silent Canyon area on the grounds of the Nevada Test Site. Although the area is not used for testing it demonstrates the accelerated erosion caused by nuclear testing nearby. Vibrations from underground testing fracture the rock cliffs, breaking loose huge boulders
Brandi Merolla, What the Frack!, 2013. From the series Fracking Photographs
Photo on the homepage: Paola Pivi, Untitled (Zebras), 2003. Photography by Hugo Glendinning. Courtesy of Galerie Perrotin.
The group had wanted to open an office in Hong Kong, a semiautonomous Chinese city where journalists say press freedom is deteriorating.
(TrendHunter.com) For Winter 2017, Stussy Australia released a series of candid shots to promote its most recent offerings.
The editorial features a vast number of models, who all wear the brand’s apparel in…
The Viral Video Chart welcomes a dose of flair this week with L’Oreal Paris’ “100 Years of Hairstyles.” As one would guess, the clip chronicles 10 decades of products and trends, highlighting everything from the first pomade for men (1920s) to finger curls (1930s) and the afro (1970s). Charting its debut at No. 6, the video has notched 7.5 million views, outpacing VVC regulars like Samsung and Wendy’s.
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Thursday, April 6:
I want to give thanks, in a way, to Pepsi, for that instantly notorious Kendall Jenner ad, because it’s given us all something to talk about (see Nos. 1 and 2, below) other than, you know, other things. Would it be too much to ask for, say, Dr Pepper to do a female-empowerment ad starring Caitlyn Jenner, or for Fanta to do an immigration-themed ad featuring Blac Chyna? That way maybe we wouldn’t have to talk about President Trump (No. 5) or Steve Bannon (No. 4) or Sean Spicer (No. 7). Anyway, let’s get started …
1. This tweet by Martin Luther King Jr.’s daughter is closing in on a quarter-million likes and 125,000 retweets:
Coca-Cola is axing Coca-Cola Life, the version of its flagship product made with a mix of sugar and stevia, from June.
Facebook has introduced a slew of new features aimed at increasing transparency for advertisers and removing the guesswork on its platform.
The company announced the global changes Thursday, attempting to answer questions like why certain campaigns see unexpected dips in performance and what sort of return can brands expect based on their ad spend.
Marketers have been clamoring for increased transparency after Facebook revealed last year that it had been inaccurately calculating a number of metrics. Facebook in February agreed to let the industry’s Media Ratings Council audit some of its metrics.
“McNugga Lubba Dub Dub” might be the goofiest brand tweet of the year so far. That’s how McDonald’s replied to a Twitter request from the writers of Cartoon Network’s Rick and Morty, after they urged the fast-food giant to bring back its McNuggets Szechuan dipping sauce, last savored in 1998 as part of a promotion…
-Translation launched a campaign for Value City entitled “Made to Mix,” featuring choreography by Mandy Moore (video above).
-The Atlantic tells us the Pepsi ad was “a total success” because it pleased everyone by satisfying no one.
–Stephen Colbert found one reason to praise the ad.
-The Huffington Post points out some other “shockingly tone-deaf” ads, while Jezebel reminds readers that advertising that co-opts counterculture is nothing new.
-AdAge asks, “After the Rise of ‘Femvertising,’ Is ‘Oldvertising’ the Next Big Thing?” If it is, can we please think of a better name for it?
-The ACLU launched a multilingual “We The People” OOH campaign in New York.
–Toby Talbot joined Saatchi & Saatchi New Zealand as chief creative officer.
-Geometry Global U.K. CEO Sarah Todd was elevated to a global role.
-U.K.’s Big Lottery Fund is looking for an agency to promote how money from The National Lottery is used to promote good causes.
Nesta semana, somos testemunhas de todo sofrimento e maldade do “Prince of Thorns” de Mark Lawrence. OUÇA ======== Download | iTunes | Feed ======== COMPRE O LIVRO Saraiva Cultura Amazon ======== COMENTADO NO EPISÓDIO Participe da nossa live discutindo o livro “Lobo de Rua” Veja como foi a nossa live discutindo o livro “Estrelas Além […]
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A decade ago many “digital agencies” were primarily production shops sub-contracting out to the big agencies in big cities. It was a profitable business for several years, but many clients were not fully satisfied. Something was missing. According to Joe Olsen, CEO of Rova, that something was the strategy that would wed digital production to […]
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