DON’T LET THEM SEE THIS FUTURE is an interactive experience that takes the abstract and seemingly distant challenge of climate change and makes it relevant to every everyone through the innocence of children. Climate change is real. You may not live to see its impact, but your children will. What kind of world are we leaving for our children?
DON’T LET THEM SEE THIS FUTURE is an interactive experience that takes the abstract and seemingly distant challenge of climate change and makes it relevant to every everyone through the innocence of children. Climate change is real. You may not live to see its impact, but your children will. What kind of world are we leaving for our children?
Saraiva is Brazil’s largest retail bookstore, a centennial brand, which was facing a great to promote their on-demand audiobooks platform.
We have redesigned renowned album covers, featuring characters from literature classics in the cover of vinyl records.
Inside, there was a summary and a code, granting a whole month of free access to all the on-demand content.
Last week, the Brewers Association (BA) launched an “Independently Crafted” label to designate independent craft breweries from those which have been purchased by the likes of A-B InBev and Heineken and “crafty” brands brewed by macro breweries. Sterling-Rice Group (SRG) worked with the Brewers Association on the project, following a successful pitch last June, but the agency has been working with the Brewers Association since 2014.
“With Big Beer acquiring small breweries, it has become increasingly difficult for beer drinkers to know and remember which brands are truly independent. Yet, we know that independence is important to them and they want transparency as it pertains to ownership,” added Brewers Association president and CEO Bob Pease. “Beer drinkers vote with their dollars and want to support businesses that align with their values,” he added. “They have indicated that ownership can drive their purchase intent. We are providing information that will help them select the brands that they already have indicated they want to support.”
“We’re thrilled about this opportunity,” added SRG executive creative director Adam Wohl. “The Brewers Association is a very collaborative client who represent an unbelievably passionate group of beer-loving entrepreneurs. Individually and collectively, they are David fighting Goliath. And SRG has been given the chance to write the playbook to take on the giant. That challenge, and the creative ways we can disrupt the conversation, is what we live for.”
Over 1,000 breweries have adopted the label since its introduction last week.
“We had more than ten percent of eligible craft breweries adopt just in the first 24 hours,” Wohl noted. “The brewery members of the Brewers Association’s board of directors who helped to spearhead this initiative were among the first to commit. We’re excited to have more and more.”
He added that they’re seeing more breweries commit to the label every day and the Brewers Association is keeping a live tally on its website.
To qualify for the “Independently Crafted” label, a brewery must have less than 25 percent “owned or controlled (or equivalent economic interest) by an alcohol industry member that is not itself a craft brewer,” per the Brewers Association’s definition of an independent craft brewery.
“The 25 percent ownership mark has been in place for a decade, and has not changed. One strength of the BA craft brewer definition is that it’s a bright line that can be clearly seen by brewers,” Pease explained.
Early adopter Dogfish Head (the 14th largest craft brewery in the country), for example, which sold a 15 percent stake to New York-based private equity firm LNK Partners in 2015, qualifies as “Independently Crafted.” Grand Rapids, Michigan’s Founders Brewing, which sold a 30 percent stake to Spanish brewing company Mahou San Miguel in December of 2014, does not.
“Small and independent owners often risk their own financial well-being when they take on the challenge of opening a brewery. With any business, it’s not uncommon to seek outside capital. But I think there’s a big difference between gaining access to capital and partnering up with a global brewery, specifically in the areas of raw material and distribution,” Pease said. “When you partner with someone for 30 percent, you don’t have the same challenges, and certainly have better access to raw materials.”
AB InBev was quick to respond to the release of the “Independently Crafted” label, releasing a video providing “Six Viewpoints From The High End,” formerly independent brewers who are now part of AB InBev responding to the new label last Friday. David Buhler, co-founder of Elysian Brewing, asks, “Does this label designate something like quality?” — a familiar argument for those who defend big beer buyouts.
Walt Dickinson, co-founder of North Carolina’s Wicked Weed, which AB InBev purchased earlier this year, adds, “At the end of the day, we’re all making beer,” and “fighting a bigger battle” against wine and spirits, to which beer is “losing market share every year.”
“At the end of the day, the beer does the talking, not the label on the package, and the consumer makes up their own mind. The problem is that the BA continues to refuse to let the consumer make up their own mind and tries to make it up for them,” 10 Barrel Brewing’s Garret Wales claims.
Asked about the response from AB InBev and other detractors, Wohl said, “Our job is to focus on what we need to do to get our client’s message out in a clear and memorable way. Attention from Big Beer draws attention to our cause. Since we have an exponentially smaller advertising and PR budget, free exposure is always appreciated.”
CP+B U.K. and international CEO Richard Pinder is leaving the agency after three years for an unspecified venture, The Drum reports.
“While I have loved every minute of working with the incredible team at CP+B, the draw of a return to entrepreneurial life is too strong to ignore. It just feels like the right time,” he told the publication.
Pinder joined CP+B in June of 2014, after co-founding and serving as CEO of The House Worldwide, a “new take on global networks,” comprised of “small teams of senior globally experienced talent directly leading the client’s business combined with access to a raft of top quality companies who are available to solve functional and geographic needs on an as needed basis.” Prior to co-founding The House Worldwide in 2011 he spent four and a half years as chief operating officer for Publicis Worldwide.
Pinder’s impending departure is just the latest for CP+B London office. Chief creative officer Dave Buonaguidi is leaving the agency this month after announcing his departure at the beginning of the year. Buonaguidi and director of operations Arjun Singh plan to launch a consultancy called UNLtd-inc.
Preacher took over for TBWA/Chiat/Day Los Angeles, as agency of record for Crate and Barrel last year, debuting its first work for the brand with a 60-second holiday spot entitled “Front Door” last November.
In its latest effort for Crate and Barrel, entitled “Welcome Love In,” the Austin-based agency tells the stories of “real couples and their gifts from the Crate and Barrel wedding registry.” It is wedding season, after all.
“Welcome Love In” features a refreshingly diverse array of couples, whose marriages span three months to forty years. What they all have is common is that they got an upgrade by registering with Crate and Barrel.
Inevitably the conversation turns back to the brand and how one couple received their first “grownup cutting board” and another dishware for 12 because they hope to host a crowd of a dozen someday, but the spot doesn’t rush to include references to Crate and Barrel products, allowing the couples to tell their stories first.
The spot promotes Crate and Barrel’s wedding registry at the height of wedding season and will run across the brand’s social channels, “its registry microsite and across major bridal sites like brides.com,” according to Campaign.
Credits:
Agency: Preacher
Art Director: Brunno Cortez
Copywriter: Justin Han
Chief Creative Officer: Rob Baird
Chief Executive Officer: Krystle Loyland
Chief Strategy Officer: Seth Gaffney Agency
Producer: Jill Silberstein
Senior Brand Manager: Stephanie Smith
Business Affairs: Miiko Martin
ACD: Kim Nguyen
Production Company: The Bear Executive
Producer: Berndt Mader
Director: Ben Steinbauer
Line Producer: Janice Woods
DP: David McMurry
Casting: O’Connor
Casting Edit House: Lucky Post
Executive Producer: Jessica Berry
Producer: Caroline Stephens
Editor: Elizabeth Moore
Mix: Pony Sound
Colorist: Neil Anderson
Pullitzer Prize winning photographer Barbara Davidson turned to an unorthodox camera for her new photo exhibition: a Volvo.
Forsman & Bodenfors new work for the brand features a photo exhibition by Davidson shot entirely with the Volvo XC60’s City Safety system. Davidson used the City Safety camera located on the car’s front windshield to capture moments of life as viewed from the Volvo and the resulting exhibit, which she also curated, opened at London’s Canvas Studios on July 4. Forsman & Bodenfors also put together this “Moments Feat. Barbara Davidson” spot documenting the process. Davidson explains at the opening of the spot that she in a car accident as a young girl and was told that she survived “because the car was a Volvo.”
It’s an extension of the “Moments” campaign which the agency launched for Volvo last month with a spot directed by Gustav Johansson.
“I would say, ‘Turn right, slow down, move a little to the left,’” Davidson explained to The New York Times. “I was essentially framing my images in the screen that they had created for me in the car so I could see how they would look. Later, I edited pulling screen grabs off that video.”
Amateur photographers shouldn’t expect to be able to replicate the experiment, however. As The New York Times points out, Davidson’s car was “hacked by Volvo’s computer experts to allow her to see the camera’s video output in real time and compose images as a precision driver shepherded her through Copenhagen earlier this year.”
“I think the car camera has incredible artistic potential,” Davidson told the publication, “and conceptual artists in particular are going to want to explore it. The fun part for me was that I was able to turn off my photojournalist mode.”
See some of Davidson’s photographs here.
-W+K London, John Goodman and a sloth/dolphin hybrid invite you to “Go Binge” with Three mobile (video above).
-Stateside, W+K launched a new campaign for Old Spice Wild Collection.
-Adweek takes a look “Inside A Ghost Store, A24’s Strange, Moving, Immersive Promotion for A Ghost Story.”
–Elizabeth Shanklin left SapientRazorfish to serve as managing director of Accenture’s communications, media and technology practice.
-Papa John’s sent its £15m U.K. advertising account to Pablo, following a review.
-The Drum goes “Beyond the Brief” with Leo Burnett copywriter Jewell Donaldson.
-Networks <a href="http:// -W+K London, John Goodman and a sloth/dolphin hybrid invite you to “Go Binge” with Three mobile (video above). -Stateside, W+K launched a new campaign for Old Spice Wild Collection. -Adweek takes a look “Inside A Ghost Store, A24’s Strange, Moving, Immersive Promotion for A Ghost Story.” –Elizabeth Shanklin left SapientRazorfish to serve as managing director of Accenture’s communications, media and technology practice. -Papa John’s sent its £15m U.K. advertising account to Pablo, following a review. -The Drum goes “Beyond the Brief” with Leo Burnett copywriter Jewell Donaldson. -Viagra and Cialis are expected to stop advertising with the NFL as they prepare to lose patent protection.”>expect limp ad sales for Viagra and Cialis as the brands lose patent protection.
TV networks are trying to keep a stiff upper lip as the once-lucrative erectile dysfunction sector has begun sagging like a doctored football in Tom Brady’s throwing hand. According to multiple insiders, a certain little blue pill has all but vanished from the airwaves, and its absence will be particularly conspicuous during the upcoming NFL season.
Nearly 20 years after the FDA first approved its use as an ED remedy, Pfizer’s Viagra is losing its patent exclusivity, and that’s a bitter pill to swallow for the TV business. Viagra hasn’t aired a national TV advertisement since May 15, and network ad sales executives said the brand is unlikely to resurface, having sat out the 2017-18 upfront bazaar.
Football fans should notice the dearth of Viagra spots as early as Sept. 7, when NBC is set to broadcast its annual NFL Kickoff Game. When the Chiefs and Patriots square off in Foxborough, their clash will not be interrupted by pitches for what was until recently the NFL’s top-spending pharmaceutical brand; according to iSpot.tv data, Viagra last season invested nearly $31 million in pro football inventory.
On the western edge of France, 4000 acres of wetlands, fields and forests have become a liberated zone; a vast laboratory of autonomy where 200 people in 60 different collectives live together without the state, occupying the land against a new airport project for the city of Nantes.
Politicians call it “a territory lost to the republic”. The local farmers and villagers, activists and naturalists, squatters and trade unionists, who are part of the growing movement against the airport and its world, call it the zad – The zone to defend.
With its bakeries, pirate radio station, tractor repair workshop, brewery, banqueting hall, medicinal herb gardens, a rap studio, dairy, vegetable plots, weekly newspaper, flour mill, library and even a surrealist lighthouse, the zad has become a concrete experiment in taking back control of everyday life. In 2012 the French state’s attempt to evict the zone was fiercely resisted and the police have not set foot there since. Every time the threats of eviction resurface, over 40,000 people take part in creative acts of disobedience to defend the zone.
— Laboratory of Insurrectionary Imagination
Planetary Endgame
Google could see more fines from European Union antitrust regulators this year as probes into its AdSense advertising service and Android mobile-phone software near completion end, three people familiar with the cases said just a week after the company was hit with a record penalty for its shopping-search services.
Both are at advanced stages, though the Android case may not be concluded until later this year, according to one of the people, who all spoke on condition of anonymity.
Alphabet Inc.’s Google is the EU’s highest-profile antitrust target, with probes on three fronts occupying regulators for as long as seven years. EU Competition Commissioner Margrethe Vestager has called 2017 her “G year” during which she would seek to nail decisions against the search-engine giant. European politicians have urged the EU to sanction Google or even break it up while U.S. critics claim regulators are unfairly targeting successful American firms.
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Thursday, July 6:
President Trump’s handlers clearly see his current overseas trip as a chance for a do-over, following all the not-exactly-rave reviews of his foreign adventure in May. So how’s it going so far? Depends, more than ever, on whom you ask. Anyway, let’s get started …
1. There are, let’s just say, competing narratives surrounding the president’s visit to Poland today. For instance, here are a couple tweets from “Citizens for Trump” author Jack Posobiec:
Soon after President Donald Trump took office with a pledge to cut regulations, Republicans in Congress killed an Obama-era rule restricting how broadband companies may use customer data such as web browsing histories.
But the rule may be finding new life in the states.
Lawmakers in almost two dozen state capitols are considering ways to bolster consumer privacy protections rolled back with Trump’s signature in April. The proposals being debated from New York to California would limit how AT&T, Verizon Communications and Comcast use subscribers’ data.
Digital advertising is Google and Facebook’s market to lose, where the safety (and scale, and data and automation) of a walled garden have allowed them to grab 77% of gross spending online and nearly every new dollar spent. Unless a media buy goes through Facebook or Google, buyers rightly worry that a lot of the money spent is going to a bot, a spoofed site, or worse. Good quality publishers that exist in the open web, and supply content to Google and Facebook, are at risk because of these issues.
Brands spend the money, and therefore are in the best position to make changes for the better. There are several practical ways brands can treat good publishers more like allies in the quest to reduce problems and retain high-quality content.
1. Treat good publishers well. Treating all publishers the same threatens the top end of the content market. Real publishers like NBCU and The Washington Post should not be treated the same as gotbabes.net, even if they sit side by side in a trading platform dashboard. Agency media buyers have no incentive to treat good publishers well in the short term — low prices and scale are everything. Anytime a new issue such as viewability or nonhuman traffic is surfaced, a new blanket process is created that all publishers must follow. Buyers have metrics and controls that are time consuming and expensive for good publishers, who rarely fall afoul of the rules when compared to the long tail.
What the hell, NBC News? You tweet “The handshake has happened” but you don’t show it?
Anyone?
Thanks, CNN. (More on CNN in a moment.)
Sony Pictures Chairman Tom Rothman downplays forecasts that the new “Spider-Man” movie will open with sales of $100 million or more this weekend. But it sure needs to.
The Culver City, California-based unit of Sony Corp. is in seventh place at the box office, a lowly spot the studio hasn’t occupied since 2000. And “Spider-Man: Homecoming,” Sony’s sixth film about the Marvel superhero, represents the company’s best chance to create a mega hit and lay the foundation for action films scheduled out to 2019.
“It’s as important as any film they have released in the past 10 years,” said Jeff Bock, senior box office analyst at Exhibitor Relations Co. “It is the last major franchise they have.”
Prosecutors in Tokyo are sending a case against Dentsu Inc. to court after the 2015 suicide of a young employee who had complained about overwork and exhaustion, according to local newspaper reports. But individual Dentsu executives were not indicted in the case, which led to reforms and soul-searching about long hours and tough working conditions at the ad giant’s Japanese operations and at the country’s companies in general.
The Tokyo District Public Prosecutors Office has sent Dentsu’s case to the city’s summary court on the charge that it had employees doing illegal overtime, The Asahi Shimbun newspaper reported. In Japan, summary courts hear cases involving fines or lighter punishments; reports said the court would decide whether to fine Dentsu.
Matsuri Takahashi, a 24-year-old Dentsu recruit in Japan, jumped from a window of her corporate dormitory in December 2015. She had complained on Twitter about how much she was working and how tired she was. Labor inspectors deemed her suicide a case of “karoshi,” a Japanese term that means “death from overwork.”
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 and conversion 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, Ford promotes its summer sale with a little help from an eager princess. In a Chrysler ad, a daughter talks about how much cooler — or at least less awkward — her dad is now that he’s got a more functional set of wheels (the Chrysler Pacifica). And to promote its Summer Invitation Sales Event, Lincoln shows off its MKC, MKX and MKZ vehicles as they glamorously cross a minimalist bridge over cool blue water under the blazing summer sun.
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