Vídeos mostram bastidores, entrevistas, cenas inéditas e momentos importantes da temporada
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-The Telegraph’s in-house team worked with adam&eveDDB on this “Words Chosen Well” campaign (video above).
-Experiencing Game of Thrones withdrawal? Peter Dinklage stars in Ogilvy’s new spot for Cisco.
-WPP claims “it understands the ‘weaknesses’ in its system much better” following the cyber-attack.
-With the “explosion” of gambling, Campaign ponders if “the ad industry doing enough to protect children.
-More About Advertising asks, “Is Publicis on the right track while WPP has been losing its way?”
–Richard Brim, chief creative officer of adam&eveDDB explains why “For creatives there’s a good kind of fear.”
Droga5 has expanded its creative department with a series of new hires, including the arrivals of three creative directors: Donnell Johnson, Matty Smith and Shannon Washington.
Johnson joins Droga5 following over six years as a freelance creative director/group creative director/copywriter with agencies including BBDO, 72andSunny, Havas, CP+B, JWT and McCann, following around a year and a half as an associate creative director and creative director with Saatchi & Saatchi L.A. Over the course of his career he has worked with brands including Toyota, Cigna, Keurig, AT&T and The New York Times, for whom he worked on the recent “The Truth Is Hard To Find” campaign.
“The agencies I’ve loved being a part of all have the same ‘we’re all in this together’ spirit. It’s about the work first—not personal agendas or egos,” Johnson said in a statement. “Knowing that soul lives within the culture, I look forward to working and collaborating on any challenges Droga5 throws my way.”
Smith joins Droga5 from Barton F. Graf, where he served as creative director and worked with brands including Supercell and Nature’s Care. He originally joined Barton F. Graf in February 2011 as a copywriter and worked with brands such as Little Casears, GrubHub, DISH Netowrk and KAYAK.com, before being promoted to creative director in 2015. He was named to Adweek’s list of “50 Creatives Whose Brilliant Ideas and Beautiful Craft Will Make You Jealous” in July of 2016.
“I’ve been very lucky in my career to work for some great mentors, and I’m really looking forward to learning and growing more at Droga5,” Smith said in a statement. “The agency is also kind enough to let me wear shorts to work—which if it hadn’t, would have been a deal breaker for me.”
Washington arrives at the agency following two years with INVNT/Time Inc. as senior creative director and strategist, crafting lifestyle and beauty experiences for brands clients such as SC Johnson, Intel, People, Essence, POPSUGAR and InStyle. Prior to that she spent two years at Grey as an integrated and digital creative director, working as digital lead for Pandora Jewelry and Pantene. That followed a year and a half as director of digital creative and strategy for Gotham Inc.’s beauty@Gotham.
“The one thing that you pick up when you talk to everyone here, from account to creative to strategy, even operations…people genuinely care about the work,” Washington said in a statement. “I’m looking forward to starting a new, fresh, thought-provoking cultural conversation through beauty—it’s time, and this is the place,” says Washington.”
Droga5 also added six associate creative directors: Rich Singer, Zack Menna, Ariella Gogol, Marie Delpy, Alyssa Georg and Elena Knox. The latter two creatives teamed up for a “Read Between The Headlines” side project while at SS+K.
Happy Monday and a question: do you ever think of leaving the agency rat race for another, kind of related business?
Surely you have at least entertained the idea. But Stephen Clements recently made it happen: after spending more than a decade in the “traditional” agency world (most of it with AKQA) and launching a small design firm called JUNIOR, he joined Y Media Labs, a California company best known for designing mobile apps.
(We should note that MDC Partners acquired a majority share in Y Media Labs in 2015, so the organization is still closely tied to the agency business.)
It wasn’t too big a stretch for Clements, who noted that his first assignment at AQKA London involved designing the XBOX 360 interface. “I found the product side of things a bit more rewarding, frankly,” he said, “and as time went on, I realized the worlds of products and marketing have collided.”
This applies to both products that double as expressions of a brand’s ethos and those designed by agencies in response to briefs.
As Clements put it in a related Medium post, brands and agencies face the same adapt-or-die challenges—and YML might just provide a model for agencies looking to better position themselves for what comes next.
Some of the things Clements has been working on during his time at the new company might sound familiar. “Over the past year, I started working on a couple of product projects with my wife; both are chatbots,” he said. “One is an [AI] sommelier, and another does the same thing in the cannabis space.”
Clements first met YML CEO Ashish Toshniwal while familiarizing himself with the group of “angel investors” in the Bay Area, but the company doesn’t just work with businesses trying to break through. Clements describes the client roster as “a mix of startups and big clients like Home Depot and First Republic Bank.” For the former, YML worked on a mobile app that ties into Clements’ interest in the oft-refrenced customer journey.
“I see it as a natural evolution for the industry as well as my career,” he said of the move from designing websites and digital campaigns to helping a client manage every way a given customer experiences a brand, service or product.
“The agency world, marketing world and product world are all merging into this one thing, and I spent a large part of my career coming at it from one angle,” he said. “This place comes at it from the other angle [with] deep product experience.”
Another YML client is Cafe X, a San Francisco coffee house served entirely by—you guessed it—robots.
“Because product engagements are longer-lasting than a campaign and don’t take as many risks, they apply a little more process and rely less on that Big Idea moment of inspiration,” he said when comparing the experience of working for YML to his time in the agency world. “I’m hoping to infuse a lot more of that and create products born from a place of inspiration.”
Clements added that he spoke to a number of brands about working on the client side but “could never get my head around working on the same thing forever.” For him, at least, Y Media Labs offers a meeting of creativity and more functional design.
It wouldn’t be a huge surprise to see more and more would-be art directors taking their careers in this sort of direction.
David&Goliath creative director Wilson Mateos is leaving the agency to return to his native Brazil as vice president, creative at Leo Burnett Tailor Made in São Paulo.
Today, chairman David Angelo said:
“Wilson had an opportunity to go back to Brazil and be close to his kids. He’s been an integral part of the creative team for Kia and he will be missed. However, we completely support his decision and wish him all the success.”
Mateos joined David&Goliath as creative director on the Kia account earlier this year. Prior to joining David&Goliath he spent over a year as a creative director with 180LA, joining the agency in November of 2015 and working on the University of Phoenix account.
Before joining 180LA he spent over a year as vice president, creative at Fischer America in São Paulo. He has also served as chief creative officer at digital IPG Group agency CuboCC and spent over two decades in the Brazilian ad industry.
Angelo did not clarify whether D&G plans to hire another creative on the Kia account.
As it turns out, the athletic department at Nebraska University was less than thrilled to have its football team compared with a Stephen King novel about a wrathful child cult.
Last week, W+K New York launched a series of 14 school-specific spots promoting Fox Sports’ college football coverage. These depictions included “Wolverine” for the University of Michigan,” “Flag” for University of Maryland” and “Blizzard” for Penn State University.
For Nebraska University, W+K New York chose to reference the aforementioned Stephen King novel, which was subsequently adapted into a 1984 horror film. The spot opens on a seemingly endless corn field, as the voice over states, “When you’re lost in a cornfield, everything looks the same for miles…and miles…and miles” as a football player plows through rows of corn. “Until finally, you come upon a circle of empty ground,” the voiceover continues as Nebraska University players form a circle and ominous music plays, “and for a second you feel relief, until you realize this is where the sacrifices are made.”
The implication did not sit well with the university’s athletic department, which requested Fox Sports no longer run the ad.
“It’s not really the direction we want the brand to go in,” senior associate athletic director for marketing and communications David Witty told Big Red Today.
He added that the school would be glad to collaborate on future promotional efforts. According to the publication, Nebraska University’s athletic department provided the uniforms for the spot without knowledge of the ad’s content.
A graduate of the university informed us students of the school, and Nebraska natives, are particularly sensitive to such negative depictions. Fox Sports planned to run each of the 14 ads in a regional broadcast strategy but decided to pull the ad following Nebraska University’s request. The network declined to comment on the decision.
Publicis Groupe’s Fallon appears to have hit a small speed bump at its New York office. The began a round of staffing reductions today, according to parties who reached out this morning.
A holding company spokesperson confirmed that the office had “made a reduction in staff to meet its current client needs.” The rep added, “Fallon has big plans for its New York office and will continue to grow with the right mix of business and industry talent.”
According to one party with direct knowledge of the situation, however, Fallon New York laid off almost every staffer this morning.
The sole exceptions were individuals working on the Bud Light Lime-A-Rita business. News of that win went live today, but we hear that the review ended several weeks ago and got delayed due to negotiations with the client. One staffer called it “an accidental pitch” and claimed that employees in Fallon’s Minneapolis headquarters had been brought on to help run the account.
The main reason for the change was Publicis Groupe’s loss of all Revlon business when the beauty giant consolidated global creative and media duties with WPP’s Grey and MediaCom in July. Fallon New York opened in February following the acquisition of fashion-focused agency AR, and Revlon was its largest client. Executive creative director David Israel, who had previously been with AR, was one of those let go today.
As noted by MediaPost back in February, this was not Fallon’s first attempt to open in New York. The earlier outpost closed in 2005 after a decade, and the new office was located in the same building as Saatchi & Saatchi New York, which showed its new space to the world in January via the architecture firm MMoser.
The party who first alerted us to the news claimed that agency employees spent much of this summer pitching for new business but did not win any reviews. At least 10 employees were laid off, and a group of summer interns were also allegedly told that Fallon would not have job openings for them in the immediate future.
What does a grocery store look like without Greek olives, Spanish tomatoes and frozen goods from who-knows-where? You’re about to find out. To emphasize the importance of global diversity in a context everyone can understand, German supermarket Edeka made a surprising decision: It emptied its Hamburg location of all foreign-made products. So schaut’s im Supermarkt…
Good morning. Welcome to Ad Age’s Wake-Up Call, our daily roundup of advertising, marketing and digital-related news. What people are talking about today: Uber’s board has reportedly chosen a new CEO for the ride-hailing company: Dara Khosrowshahi, who heads up online travel platform Expedia. The name was a surprise. After a nine-week search to replace Travis Kalanick, speculation had focused on Hewlett Packard Enterprise CEO Meg Whitman and General Electric Co. Chairman Jeff Immelt.
Uber has made no official announcement, but the pick was reported by outlets including The New York Times and Wall Street Journal. Recode calls Khosrowshahi a “truce” candidate and notes that he had not actually been offered the job yet as of late Sunday. Bloomberg, meanwhile, calls him a “seasoned deal-maker and an outspoken critic of President Donald Trump.” The job at Expedia has something very basic in common with Uber’s top job, as Recode notes: “Khosrowshahi’s task is to turn unsold space whether it’s an empty hotel room or an extra car seat into revenue.”
Scorecard
Hispanics account for almost half of annual U.S. population growth, largely through U.S. births rather than immigration (25.8% of kids aged 9 and under are Hispanic). Totaling 57.5 million people, Hispanics are 17.8% of the U.S. population and growing.
That’s some of the key information in Ad Age’s fourteenth-annual Hispanic Fact Pack, distributed with the Aug. 21 issue of the print magazine. It includes data about marketers, ad spending, demographic change and how Hispanics use digital media. Rankings in the 32-page 2017 guide include the top 50 Hispanic advertisers, the 50 largest U.S. Hispanic ad agencies and the 15 biggest Hispanic media agencies. And a creative roundup highlights the most-awarded campaigns of the year.
A further selection: Hispanic major-media spending edged up 1.2% to $9.6 billion in 2016, but the only category that grew significantly was digital, estimated in Ad Age’s Hispanic Fact Pack to be up 16.9% to $2 billion. TV spending — network, spot and cable– was down slightly to $6 billion in 2016 from $6.2 billion the previous year.
Mother has promoted executive creative directors Ana Balarin and Hermeti Balarin, together with heads of strategy Chris Gallery and Katie Mackay, to partners, with responsibility for the day- to-day running of the London office. The Balarins moved from their native Brazil to join Mother London 2007, and were promoted to executive creative directors in 2015. They have worked on most of the agency’s accounts, including Stella Artois, MoneySuperMarket, Ikea and Diageo. Along with Gallery and Mackay,the creative pair (who are also married) have been a central part of the management team for the past 18 months. All four execs report to global chief executive Michael Wall.
Jody Gerson is having a good year.
The CEO and chairman of Universal Music Publishing Group recently closed a deal for Bruce Springsteen’s catalog andyears after discovering a 14-year-old Alicia Keysbelieves she has found the next big thing.
You likely saw her handiwork at the Grammy’s this year in an ad that matched up “Nothing Compares 2 U,” sung by a variety of musicians in tribute to Prince, with the Google Pixel smartphone (executed by Droga5). Gerson, who has been with Universal Music for almost three years, sat down with Ad Age to discuss the intersection of marketing and music, the problems with streaming, her favorite app and more.
The heavyweight fight between Floyd Mayweather and Conor McGregor may have been the most-pirated event ever. Is that because the distributors don’t understand the fundamentals of the media business?
Crowd Companies CEO Jeremiah Owyang privately wrote on Facebook, in a post that he allowed me to publicly share, “Many people were live streaming the fight on Periscope. All media wants to be freed.” (While media has no inherent desires, people can’t resist the tendency to anthropomorphize it.)
Owyang’s clever twist on the clich puts the emphasis on media wanting to be “freed” rather than “free,” but the implication was that the $99.95 cost to view the fight in high definition in the U.S. prevented this event from reaching everyone who wanted access to it. This led people to seek alternative ways of viewing the fight. For some, that meant a trip to the pub, but for others, it meant engaging in or abetting some form of theft.
When Ad Age debuted the Digital Conference in 2007, digital was the next big thing. It wasn’t yet woven into every strategy. The industry was still connecting the dots between Madison Avenue and Silicon Valley. Today, digital permeates even the so-called offline world. So after 10 succesful years, we’re rebooting our flagship conference and giving it a new name and a new focus.
Ad Age Next is a newer, bolder look at what’s defining innovation and causing the seismic shifts that are looming on the horizon.
We’re bringing together important leaders from marketing, media, science and tech to go beyond the current trends and anticipate what’s really coming next, in practical terms. We’ll go deeper on hot topics like ad blocking, AI, bots and neuromarketing. And we’ll explore what the consumer landscape will look like in the not-too-distant future.
Once upon a time, Page Six, the New York Post gossip section, actually appeared on page six. Like on Jan. 3, 1977, when the first edition ran, complete with tidbits about Margaux Hemingway, Henry Kissinger, Steve McQueen, Jackie Onassis and John F. Kennedy Jr. (see below).
Legendary journalist James Bradywho later went on to become an Ad Age columnist (he died in 2009)created Page Six at the behest of the paper’s owner Rupert Murdoch, who’d bought the New York tabloid for $30.5 million in 1976. It wasn’t long before Page Six became a major force in New York mediaan inky forum where reputations could be ruined or burnished, the famous humbled, fledgling celebrities given a boost and hot spots annointed or suddenly iced out. Other print gossip franchises tried to match Page Six’s momentum (from New York Magazine’s Intelligencer section to The New York Times’ “Public Lives” column), but it wasn’t until the internet’s mid-childhood that it faced serious competition (Gawker, TMZ).
Now Page Six is making a fresh bid for relevanceand crossplatform dominance. Here’s what you need to know:
Fitbit desperately needs a hit.
The company unveiled its first smartwatch on Monday, hoping that the health-focused features of the device will reverse the hardware maker’s declining influence in the wearables market.
The smartwatch, called the Fitbit Ionic, costs $299.95. It has a square touchscreen similar to the one on the Apple Watch. It includes a heart-rate monitor, GPS tracking and four-day battery life. The watch, which is water resistant up to 50 meters, can make wireless payments and store music offline from Pandora Media.
Houston-area ad and PR agencies are among the businesses dealing with the epic storm that has deluged parts of the region with as much as 30 inches of rain since Saturday night. Some agencies remain closed on Monday as the city copes with the havoc wrought by Hurrican Harvey, freeing employees to pitch in on volunteer efforts as rising floodwaters displace thousands of residents, with no immediate end in sight.
The Houston office of PR giant FleishmanHillard was among the shops that shut down. “We’re very thankful that all of our employees and their families are safe and out of harm’s way,” says a FleishmanHillard spokeswoman. The agency has reached out to the Houston Food Bank to offer assistance and is also “providing information to our employees across the country with information on how they can donate to rescue and recovery efforts,” she says.
Last Wednesday, Edelman announced internally that it would close the Houston office on Friday so that staff could leave the path of Harvey and prepare their homes for the storm. Staff without family in the state were offered housing in Dallas.
Creditworthy. A History of Consumer Surveillance and Financial Identity in America, by Josh Lauer.
Publisher Columbia University Press writes: The first consumer credit bureaus appeared in the 1870s and quickly amassed huge archives of deeply personal information about millions of Americans. Today, the three leading credit bureaus are among the most powerful institutions in modern life–yet we know almost nothing about them. Experian, Equifax, and TransUnion are multi-billion-dollar corporations that track our movements, spending behavior, and financial status. This data is used to predict our riskiness as borrowers and to judge our trustworthiness and value in a broad array of contexts, from insurance and marketing to employment and housing.
In Creditworthy, the first comprehensive history of this crucial American institution, Josh Lauer explores the evolution of credit reporting from its nineteenth-century origins to the rise of the modern consumer data industry. By revealing the sophistication of early credit reporting networks, Creditworthy highlights the leading role that commercial surveillance has played—ahead of state surveillance systems—in monitoring the economic lives of Americans. Lauer charts how credit reporting grew from an industry that relied on personal knowledge of consumers to one that employs sophisticated algorithms to determine a person’s trustworthiness. Ultimately, Lauer argues that by converting individual reputations into brief written reports—and, later, credit ratings and credit scores—credit bureaus did something more profound: they invented the modern concept of financial identity. Creditworthy reminds us that creditworthiness is never just about economic “facts.” It is fundamentally concerned with—and determines—our social standing as an honest, reliable, profit-generating person.
Creditworthy opens up in 1913 when oil magnate John D. Rockefeller is denied access to credit in a Cleveland department store. The clerk, who didn’t trust the appearance of his customer, insisted on calling the credit department before authorizing Rockefeller’s purchases. The story shows that at the time already, even one of the richest men in the world, could not escape the gaze of a surveillance apparatus that will remain under-studied for decades to come.
The book ends 100 years later when his great-grandson Senator John (Jay) D. Rockefeller IV initiates a senate investigation into the business practices of the U.S.’ leading data brokers. The results were divulged a few months after Snowden’s NSA revelations. Talking about privacy, the senator said:
What has been missing from this conversation so far is the role that private companies play in collecting and analyzing our personal information. A group of companies known collectively as ‘data brokers’ are gathering massive amounts of data about our personal lives and selling this information to marketers. We don’t hear a lot about the private-sector data broker industry, but it is playing a large and growing role in our lives.
Let me provide a little perspective. In the year 2012, which you will recall was last year, the data broker industry generated $156 billion in revenues–that is more than twice the size of the entire intelligence budget of the United States Government–all generated by the effort to learn about and sell the details about our private lives. Whether we know it or like it or not, makes no difference.
In this book, professor of media studies Josh Lauer describes how U.S. citizens became objects of intensive surveillance. He investigates how financial identity became a key marker of our personal trustworthiness and how increasingly centralised and invasive systems for monitoring an individual’s behaviour and credits enabled the ascent of consumer capitalism in the U.S.
Photograph of the Vegas Credit Bureau parade entry, Las Vegas, circa late 1920s to early 1930s
Many of us think that modern surveillance appeared after 9/11 but its history actually started in the late 19th century when a disembodied doppelganger of the American consumer started materializing inside the files of retail credit departments and local credit bureaus.
The credit reporting industry was an omnivorous collector of personal data. It cultivated trusted informants, connected with hospital and utility companies, placed phone calls to employers, landlords and neighbours in order to amass as much information as possible about American individuals. Many credit departments and bureaus even maintained separate ‘watchdog’ cabinets where they stored all sorts of information that may affect an individual’s ability to pay: divorces, lawsuits, bankruptcies or accounts of immoral behaviour gleaned from papers court and newspapers clippings, etc. The data gathered was so extensive that in the early 1960s, FBI agents, treasury men and the NYPD visited their offices when they needed to fill in gaps in their dossier.
The credit surveillance industry not only quantified the value of citizens, it also functioned as a disciplinary machine, attempting to control their behaviour, shaming them into paying back what they owed and enforcing the doctrine that a person who abused his or her credit must should be shunned from business and society. To the point that, over time, an individual’s financial identity became an integral dimension of their personal identity.
The telautograph. Image: redorbit
Trustworthy explores a very American phenomenon. We do have credit surveillance systems in Europe too but they are probably not as sophisticated as the ones described in the book (note to self: please investigate the European situation.) I’d definitely recommend this book to U.S. readers. It is impeccably researched and makes for a compelling read. I particularly enjoyed the parts describing the array of human and mechanical techniques employed to extract and manage credit information. From the personal interviews that subjected consumers to intrusive scrutiny to the new technologies that enabled the collection and archiving of data. That’s where i learned about the existence of the telautograph, a precursor to the modern fax machine that was developed to transmit drawings to a stationary sheet of paper. It was used in credit bureau, banks and doctors for sending signatures over long distances.
The Rockdale Reporter and Messenger (Rockdale, Tex.), Vol. 82, No. 34, Ed. 1 Thursday, September 9, 1954 Page: 6 of 20
Credit surveillance systems placed individuals at the center of an invasive information and communication network. Its complexity, its reach and the impact it had on society was (and is still) alarming. Yet, most American consumers have long remained unaware of the private surveillance system that facilitated their credit purchases. This lack of knowledge and control is something that most of us -U.S. citizen or not- have often deplored since Edward Snowden revealed the extent of the NSA mass surveillance infrastructure.
Category: Beyond Madison Avenue
Summary: The penultimate, seventh season premiere of “Game of Thrones” broke the record for the most watched HBO season premiere of all time when it reached 26 million views across platforms and in delayed viewing.
Anheuser-Busch InBev has added Fallon to its creative agency roster to handle Bud Light Lime-A-Rita as the margarita-flavored malt beverage brand prepares to add the NFL to its marketing mix.
The Publicis Groupe shop will handle the account via its New York office, which opened earlier this year. Fallon won the account after a review that began earlier this summer when Lime-A-Rita cut ties with FCB Chicago. Chelsea Phillips, the brewer’s U.S. VP for value and so-called near beer brands, cites Fallon’s experience with food and beverage brands, including its highly regarded work for Arby’s, which the agency runs from Minneapolis. “We talked to a couple different agencies through an RFP process and there was just this electric spark when Fallon came in the room,” says Phillips.
The review came just months after Lime-A-Rita under FCB began marketing almost exclusively to females using a female-led marketing and agency team. The resulting campaign, called “Make it a Margarita Moment,” featured scenes of women socializing over some Ritas.
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