For Chloe – A Sad Oregonian
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These creepy student ads hilariously misinterpret creative recruiter’s tweets to land an internship.
These creepy student ads hilariously misinterpret creative recruiter’s tweets to land an internship.
A print campaign that utilizes organ donation as a pressure point to help fight against intolerances in the world. It is based on the fact that there will always be a moment in our lives where none of those intolerances matter – when your own life is on the line.
A print campaign that utilizes organ donation as a pressure point to help fight against intolerances in the world. It is based on the fact that there will always be a moment in our lives where none of those intolerances matter – when your own life is on the line.
A print campaign that utilizes organ donation as a pressure point to help fight against intolerances in the world. It is based on the fact that there will always be a moment in our lives where none of those intolerances matter – when your own life is on the line.
Work experience participants get out what the agency is prepared to put in.
-Happy Friday. We have no idea why we’d never seen this amazing 1986 ad for the National Dairy Board.
–Ads on NBA jerseys also somehow feels like a mid-80s idea, doesn’t it?
-Mother London’s latest ad for IKEA includes a twist that will warm even your black heart.
-BREAKING: you will be absolutely shocked to learn that most agency innovation labs are pure bullshit.
-ICYMI, Bullish “dropped” its struggling client GNC, whose comeback Super Bowl spot got slapped down by Fox Sports. Hmm.
-More leadership changes at Omnicom’s 180: former Amsterdam head of project management Joanna Borton left to become the first creative services director at London’s Above+Beyond.
-DDB Sydney convinced Tara Ford to leave TBWA Melbourne for the newly created ECD role.
-72andSunny Amsterdam CD Matt Heck talked to Little Black Book about our favorite topics: haircuts, Axe and “toxic masculinity.”
TBWAChiatDay Los Angeles is in the market for a new car, and it might just be a Mitsubishi.
Earlier this year, Nissan surprised quite a few in the agency world by splitting with the Omnicom shop’s West Coast network after more than 30 years. Just over three months later, Mitsubishi—in which the company acquired a 34% stake in late 2016—also dropped 180LA as its creative agency of record.
Now we hear that TBWA hopes to make up for that loss by picking up the smaller account. According to Kantar Media, Mitsubishi spent $95 million on U.S. marketing last year.
The Nissan work didn’t leave Omnicom, it simply moved from TBWA L.A. to Zimmerman (broadcast) and the former agency’s New York team (social and digital). And since Nissan now owns part of Mitsubishi, its leadership is very familiar with the Omnicom roster. Like Pepsi, it seems that they’d prefer to keep things within the family.
On that point, one source very close to the matter tells us that TBWA’s West Coast executives recently had a meeting or meetings with Francine Harsini, senior director of marketing at Mitsubishi North America. This would not be the first time Harsini has come into contact with TBWA: she formerly served as managing supervisor there before moving in-house with DirecTV and eventually going to the Japan-based car company.
It’s not yet clear whether the two parties will work together. According to our source, Mitsubishi is notoriously hard on its agencies, and several people who worked on the account in the past told us that the client had been sending project work to independent L.A. shop Omelet and using that organization’s lower rates as leverage against 180LA.
Another party tells us that the meetings were part of a formal review involving TBWA, Omelet and other unnamed agencies.
A TBWA spokesperson deferred to the client, whose PR department has not responded to any of our calls or emails about the recent changes in its agency lineup. Omelet also declined to comment on the earlier story about its relationship with Mitsubishi.
More news to come on this account.
The San Francisco office of FCB has hired Rodrigo Linhares as its newest creative director.
His is the latest hire following the IPG network’s big win in last year’s Clorox review. According to the press release and a statement from VP/CCO Karin Onsager-Birch, he will be leading the team on that account and Levi’s.
“Rodrigo’s laser-sharp focus on great creative, media-neutral approach and overflowing positive energy make him a fantastic addition to our team and an excellent mentor for our younger creatives. His international mind-set is critical for our global work as we continue to attract clients whose brands and products need to connect with consumers across borders,” said Onsager-Birch.
The Brazilian native and Miami Ad School graduate (portfolio here) most recently served as VP/creative director at DigitasLBi Chicago, where he worked on the KitchenAid and Miller Lite accounts. He started his career in Brazil as a TV script writer, later becoming a partner in a production company before working as a copywriter at several agencies around the world including Duval Guillaume Brussels, Leo Burnett Moscow, DDB Berlin and DM9DDB Rio de Janeiro. Before joining Digitas, he worked across several accounts at BBDO New York including AT&T and Pepsi.
His Cannes-winning projects include Lego’s “Build Beyond,” Volkswagen’s “Pedro” and last year’s Snickers “Photoshop Mistakes” by BBDO New York.
“I’m inspired by the simplest interactions, because, more often than not, the simplest ideas are the head turners,” he said when asked to described his creative process. “Karin and [group creative director Mike Long]’s boutique approach and global vision are really what brought me here. The opportunities at FCB West are truly a creative director’s dream.”
This news marks the first major creative hire since Long moved to FCB West from GS&P in January. This April’s “Shine On, Klutzes” was some of FCB’s first work for Clorox.
Before today, we had never really asked ourselves what the hell production crews do during the downtime on a commercial shoot. That might be because we assumed the answer would be “get drunk” and/or “write emails.”
But then a reader alerted us to a project in which Portland-based Droptree Productions used the time spent on two years’ worth of commercial shoots to make … a hip-hop video.
Normally we would not promote a five-minute clip of white guys rapping, but this one is clearly made for all the ad dorks out there. See if you can pick out some of the spots they worked on.
The track is a bit long for our tweetdeck attention spans, but they had to get all those sick shots in, bro!
You might not be into the Beastie-style rhymes and production on this tune, but the lyrics are all about the biz with lines like “Pro tip two: when dealing with your client, learn to push back without seeming defiant!” Kind of awkward, but it works.
Oh, and check out the throwback site with the comic sans.
Disclaimer: we haven’t really kept up with crossover hip-hop since 2008 beyond Run the Jewels, and everybody’s grandma listens to them now. Approaching 40 is fun.
Happy Summer Friday to all in the agency world.
Today we return to the old reliable “blind items” in which we share unofficial news that’s simply too good to pass up.
R/GA went through a small round of layoffs in Manhattan this week. Several parties reached out regarding the development, and a spokesperson for the IPG agency confirmed today.
Here is a statement:
“We are constantly re-modelling our company structure against our clients’ needs. Following two successful quarters, we have evaluated how these needs are shifting and made the difficult decision to make staffing adjustments. We are continuing to hire talent in New York to deliver innovative solutions for our clients.”
The representative declined to elaborate beyond this quote.
According to some close to the agency, approximately 15 employees across several departments were let go. As we hear it, the move was not related to any specific piece of business.
The network has been quite active as of late. Its Ad Council campaign “Love Has No Labels” got nominated for an Emmy, and last month its London and Singapore offices won reviews for Johnnie Walker and Nikon, respectively.
-In case you’re not already sick of GoT promos, Olson Engage created a 7-foot throne of cones for client Blue Bunny, to be displayed in Manhattan’s Big Screen Plaza today.
-Indianapolis agency Bradford and Montgomery (BaM) hired Berstein-Rein and Barkley veteran Jules Boasberg as its chief marketing and growth officer.
-Global CEO Shane Atchison and U.S. president Jason Burby announced that they will be leaving WPP’s Possible for an unnamed tech startup.
-On that note, are you sure you want to trade advertising for tech? Today saw yet another sexual assault lawsuit, this one filed against BetterWorks and its CEO.
–Paul Venables of VB&P is hiring, and he wants job seekers to tweet at him with “one good thing you’ve done.”
-London agency Don’t Panic created some self-promotional “Team EPO” jerseys ahead of the Tour de France, because EPO is a banned drug, get it?
-FCB promoted Jane Lim to CEO of its Singapore office as part of an effort to relaunch that operation.
-Here’s a fun project addressing gender inequality in Latin America by way of a pink staircase and a blue escalator created by art director Kazunori Shiina and copywriter Chandani Karnik.
–Suck It, Creatives: Web Developer Is the Hottest Gig in Advertising
–We Hear: Allstate Adds 72andSunny to Its Creative Agency Roster
–Campbell Sends Its Chunky Soup Brand Back to BBDO After 20 Years with Y&R
–Publicis Cuts 8% of Digitas Health Staff in North America, Folds Philly Unit Evolvr
–Ready to Get Rich? Sell Your Mid-Sized Agency to Accenture for $63 Million
David Droga poured his heart out during The Lion of St. Mark interview at Cannes this year. He cares and he wants you to care too. Do you care? Adweek picked up on his call to action, and captured the essence of the hour-long chat with this pull quote: I would put down everything in […]
The post David Droga Wants You To Care, And He’s Not Alone In That appeared first on AdPulp.
I’m sitting at an outdoor table in the patio of Caf Standard, at the East Village’s Standard Hotel, with Lacey Waterman, a senior art director at Partner & Spade.
Waterman, 30, spent a bulk of her career working freelance in New York and Los Angeles (her hometown), but now, with a stable job and a 1-year-old Chihuahua, this creative has come up with a uniquely, well, creative side-hustle: “Set me up on a guy that I go on 10 dates with, and I’ll give you a thousand dollars.”
She wrote up a proposal, had a friend organize a photo shoot and posted it all to her social networks and her website The Lacey Minimalist. “It’s not a game, it’s a new idea in millennial matchmaking. Hey, you don’t get what you don’t ask for, right?” She writes.
So it turns out the president of the United States can exercise some restraint when it comes to Twitter.
As his son Donald Jr. got pulled deeper and deeper into the Russian collusion scandal, with The New York Times publishing a series of explosive, incriminating stories, the president went curiously silent on Twitter about Don Jr.’s predicament. For more than 48 hours. Which is an eternity in POTUS Twitter Time.
Sure, he tweeted about other stuff — like the Olympics … and his DAUGHTER … but nada about his oldest boy.
The Wall Street Journal may or may not be your preferred news source, but its editorial mission is to report quantified facts — a rarity in a “post truth” world. Truth, however, costs money, and because The WSJ relies on a paywall, it can be punished by the click economy.
Lying at scale wasn’t the intent that Google, AOL or Yahoo had in mind when the currency of digital was all about capturing “eyeballs.” That came later. It was Facebook, YouTube and Twitter who perfected the engineering of community outrage. They successfully turned digital rubbernecking into an alternative form of breaking news. That may be the fatal flaw of Web 2.0: We built the greatest communication technology in history, but all of its financial incentives reward B.S. over veracity, and mob action over logical discourse.
We have no one to blame but ourselves, which means we also have an obligation to fix the problem.