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Anunciaram e garantiram que o mundo ia se acabar. Por causa disso, todo o povo do Mupoca começou a listar! No programa de hoje, Luiz Yassuda, Gabriel Prado e Tales Cione discutem o que fazer quando o mundo estiver acabando, em caso de sobrevivência. Sabe como é, com este monte de notícias dando sinais de […]
> LEIA MAIS: Mupoca #074 – Guia Mupoca para o fim do mundo
-EP+Co introduced “The Tailor” in a campaign for its newest client, Men’s Wearhouse.
-Hyatt considered scrapping a branded content partnership with The Atlantic a year in the making following last week’s events in Charlottesville.
-Spotify plans to compete with Facebook and Google via…audio ads?
-Major TV providers lost around 665,00 subscribers in the U.S. during the second quarter, according to a new report from Leichtman Research Group.
-Five directors review the first ads they ever made.
-Mother London promotes KFC U.K.’s “Southern Legends” line with bands from from Alabama, Texas and Tennessee.
-Here’s one way to say bye: Goodstuff co-founder Andrew Stephens took to LinkedIn for a fond farewell to former client Spotify.
BBH New York expanded its senior leadership team with a pair of new hires and a promotion.
Brett Edgar (pictured above) joined the agency as head of account management, Darus Zahm will serve as group communications planning director and Kendra Salvatore was promoted to head of planning.
Edgar will report directly to BBH New York CEO Anthony Romano, who joined the agency from R/GA in June, while Zahm will report to BBH New York chairman and BBH global chief strategy officer Sarah Watson.
Edgar joins BBH New York from Droga5, where she has served as deputy head of account management. Prior to joining Droga5 she spent over seven years in the same role with TBWAChiatDay New York, working on the agency’s Kraft, Mondelez, Mars, Wrigley, Henkel and GSK accounts.
Zahm arrives at the agency from Anomaly, where he has spent the past year serving as group communications strategy director, following three years as communications strategy director. Before joining Anomaly he served a brief stint as vice president, integrated communications director for Assembly, following over a decade with TargetCast tcm, where he managed the Hotels.com account as vice president, integrated communications director.
Salvatore (pictured, right) was promoted to head of planning from her previous role as strategy director on the agency’s PlayStation account, a position she has held since the beginning of 2014. Prior to that she spent two years as a strategist and engagement planner, working on the agency’s PlayStation, Google Chrome and Cole Haan accounts. Before joining BBH she spent two years as senior strategist with Now What Research, following a brief stint as a brand strategist with kirshenbaum bond senecal + partners.
Longtime R/GA creative Trevor Eld has become the first to hold the chief creative officer title at music publication THE FADER and its in-house agency, Cornerstone.
The announcement effectively unites marketing and editorial in a “new media model” that recalls debates at other publications about how/whether to separate the disciplines.
Eld also hired several new leaders from the agency and media worlds to form his leadership team. They include:
“We’ve always put brands at the center of what we do. When our main offering was music, brands that worked with us realized we had the skills to go much deeper into their business,” said the new COO. “Now we’re getting briefs that any agency would kill for. So we’ve built a creative team that understands our culture and can go deeper into the next level of brand work.”
He didn’t name those briefs, but recent projects include Budweiser’s “Made in America” (a collaboration with Jay-Z) and a tie-in between Johnnie Walker Black and 2015’s Entourage movie.
In addition to leading creative, Eld, who also teaches digital design at New York’s SVA, will work to “develop and leverage new and existing IP to scale TheFADER for 2018 and beyond.”
Founders Rob Stone and Jon Cohen launched Cornerstone back in 1996 after working together in the music industry. Two years later, they began publishing THE FADER.
Ogilvy & Mather promoted Joe Sciarrotta and Alfonso Marian to roles as U.S. co-chief creative officers, Adweek reports.
Ogilvy & Mather U.S. CEO Lou Aversano announced the news in an internal memo today. According to the memo, Sciarrotta and Marian will be tasked with driving the agency’s strategy while working closely with Aversano and U.S. chief strategy officer Steve Zaroff.
Aversano cited Ogilvy & Mather worldwide chief creative officer and co-chairman Tham Khai Meng in describing Sciarrotta and Marian as “true champions of Pervasive Creativity” with “the passion, dedication and talent to inspire game-changing work that will take Ogilvy’s global creative agenda to the next level in the U.S.”
Here’s the full memo sent to all Ogilvy U.S. staff under the subject line “Joe Sciarrotta and Alfonso Marian.”
We are thrilled to announce the appointment of Joe Sciarrotta and Alfonso Marian as co-chief creative officers, Ogilvy USA. Under Joe and Alfonso’s leadership in their previous positions, Ogilvy USA won a record-breaking 35 Cannes Lions this year, demonstrating that we can truly make a difference when we break the mold and produce brilliant campaigns that drive positive outcomes and create powerful emotions.
In their new roles, Joe and Alfonso will be responsible for driving our Twin Peaks strategy of Pervasive Creativity and Effectiveness, while working closely with our new U.S. chief strategy officer, Steve Zaroff, and the group leads to ensure we have the strongest creative offering to deliver for our clients.
Tham Khai Meng, our Worldwide Chief Creative Officer and Co-Chairman, said it best when he noted that, “Joe and Alfonso are true champions of Pervasive Creativity. They have the passion, dedication and talent to inspire game-changing work that will take Ogilvy’s global creative agenda to the next level in the U.S.”
Here’s a little background on Joe and Alfonso:
Joe joined Ogilvy over 15 years ago. Most recently he worked on Glade’s “Museum of Feelings,” Kiwi’s ‘Portraits Completed” and Morton Salt’s OK Go video, “The One Moment.” He was also part of the creative team that won the 2006 Grand Effie for Dove’s “Campaign for Real Beauty.”
Alfonso joined Ogilvy in 2011 and has led breakthrough, award-winning work for clients including UPS, Kimberly-Clark, British Airways and BlackRock. Honored with the Irving Wunderman Award, Alfonso is known for developing talent, and injecting imagination, curiosity and passion into all of his creative work.
Individually they are giants, but together they will be unstoppable. Please join Khai and me in congratulating Joe and Alfonso on this well-deserved appointment.
Lou
On Monday, IPG CEO Michael Roth released an internal memo circulated to the holding company’s estimated 50,000 employees unequivocally condemning both the violence and the white supremacist ideology exhibited in Charlottesville last weekend, making him, to our knowledge, the first agency leader to release such a statement.
According to the Fishbowl app, other agency leaders have since released similar statements—but they have not been leaked to the press.
Yesterday, however, following President Trump’s disturbing remarks in a Tuesday press conference, Hill Holliday chairman and CEO Karen Kaplan sent an internal memo to employees addressing the issue which was subsequently circulated to Adweek.
In the memo, Kaplan emphasizes that Hill Holliday is “a place of inclusion and respect” and expresses solidarity with Roth’s previous statement that “This isn’t a partisan or political issue, it’s an issue of basic humanity, and standing up for what is right at a particularly difficult moment.”
She concludes by inviting dialogue with herself or other senior leadership and asks that any employees engaging in any protest events “please stay safe.”
Kaplan concludes by calling on employees to defend values both the agency and America stand for: “liberty, justice, and equal rights for all.”
Here’s the memo in its entirety:
Hello everyone.
The events in Charlottesville and the political aftermath of the last several days have left many of us stunned, shaken and saddened.
As Americans, we enjoy different political views, and we approach the world from many perspectives. But when the line has been crossed between right and wrong, between discourse and hatred, we must stand up. There is no place in this country for Neo-Nazis, the KKK, white supremacists or any other ideological hate group that uses discrimination and violence as a path to power. There is no “side” in this, except the right one.
Hill Holliday is a place of inclusion and respect, and we stand firm together against any kind of racism, hatred, intolerance or discrimination. Our country may feel divided at times, but our family should not.
We stand unequivocally with the Chairman and CEO of IPG, Michael Roth: “This isn’t a partisan or political issue, it’s an issue of basic humanity, and standing up for what is right at a particularly difficult moment. We are counting on all of you to do that, by showing respect for our differences, and living up to our commitment to fairness and inclusion.”
If you would like to talk to senior leadership, start a discussion, or make your voice heard, we are here. My door is always open. And finally, please stay safe if you are participating in any protest events. Let’s take care of each other, and defend the values that our company and this country stand for: liberty, justice, and equal rights for all.
Love,
Karen
Havas Chicago launched a new campaign for faucet manufacturer Moen, which consolidated its marketing business with the agency back at the beginning of 2016.
The agency kicked off the campaign with a pair of spots, each of which runs in 15 and 30-second versions, with three more ads expected in 2018. In the first of these efforts, “Power Clean, Inspired by Force,” Moen’s Power Clean faucet technology is compared to everything from a shark and a boxer to a tornado and a firework. It relies on quick, cinematic cuts before concluding with a description of Power Clean as “Inspired by force. Innovated by Moen.”
The latter line reappears in the other spot, promoting Moen’s Magnetix handheld shower heads, only in this case, the technology is “Inspired by attraction.” Of the magnetic variety, that is.
“We took a fresh creative approach by bringing drama and passion to a category known for speaking to audiences about lifestyle,” said Havas U.S. chairman and chief creative officer Jason Peterson explained in a statement published by LBB. “Moen’s innovations are strong but underappreciated. We created a bold, visual language to highlight the products and did so in ways to further modernize the brand and its emotional appeal.”
Lebanese alternative rock band Mashrou’ Leila’s vision of the Middle East today is an amalgam of varied and sometimes contradictory influences, from the historical to the political. “Worms sculpt my body now/ The earth cradles my skin/ Why’d you sell me to the Romans?” So sings lead vocalist Hamed Sinno in his group’s latest single…
Finnish agency hasan & partners teamed up with Paola Suhonen, a well known fashion designer in the country, to create a “Maternity Wear for a 12-Year-Old” campaign to call awareness to the problem of child pregnancies in developing countries and drive donations to child rights organization Plan International. Suhonen’s “Hamptons” collection of maternity wear includes…
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: CEOs and brand leaders can’t stop weighing in on white supremacists, the violence in Charlottesville, Va. and President Trump’s reaction to the events there. Some quotable quotes:
Facebook CEO Mark Zuckerberg: “It’s a disgrace that we still need to say that neo-Nazis and white supremacists are wrong as if this is somehow not obvious.” Zuckerberg added that Facebook will remove violent threats from its pages; the company has been criticized for being slow to take down the event page put up by organizers of the Charlottesville event.
Apple CEO Tim Cook: “I disagree with the president and others who believe that there is a moral equivalence between white supremacists and Nazis, and those who oppose them by standing up for human rights. Equating the two runs counter to our ideals as Americans.” Plus, Apple is donating $2 million to the Southern Poverty Law Center and the Anti-Defamation League. Read more at Recode.
Global brands have tried to tighten control on media spending and reexamine their relationships with agency suppliers in the year since a bombshell report on media transparency from the Association of National Advertisers, according to a new survey from the World Federation of Advertisers.
The research released this week from the Brussels-based marketing association representing members like Coca-Cola, Procter & Gamble, Unilever and national advertiser associations said brands are making changes to their media governance practices in the areas of media transparency, viewability, brand safety and ad fraud.
The WFA attributes the more hands-on approach to the ANA’s report last summer, which claimed rebates and non-transparent practices were pervasive in the U.S. media-buying ecosystem and put the relationships marketers have with their media agencies under a microscope.
WPP’s GroupM, the world’s largest buyer of advertising on behalf of marketers, has changed its standards for the “viewability” of the digital ads it will pay for, softening its requirements in social media and strengthening them elsewhere.
GroupM and Unilever, a major client, three years ago said they wanted ads to meet largely stricter criteria than the industry’s guidelines for viewability, which are meant to make sure consumers have a chance to absorb ads.
Where the industry’s Media Rating Council guidelines call a video ad viewable if it plays halfway on-screen for two seconds, whether or not the sound was on and even if the video plays automatically, for example, GroupM said it generally wanted viewers to press play, have the sound on, get at least halfway through and keep the player entirely on-screen.
Cincinnati probably isn’t the first city you’d pick to work in. That’s exactly why a bunch of interns at Possible Cincinnati, tasked with finding a way to attract talent, created a Tinder account to fix people up with the office.
“Starting a new job is like starting a new relationshipit can be scary,” says Madison Dejaegher, digital marketing intern at Possible. “You most likely left the last relationship because you weren’t happy or you were not reaching your goals.”
The project came about when the group was tasked with creating and executing a project “in addition to whatever client work they’re involved in,” says Brian LeCount, executive-VP of strategy and insights at Possible, a digital ad agency under WPP. The goal was to address that “we’re a global agency and we’re WPP’s largest digital agency around the globe, but we have a challenge attracting strong talent to the city because it’s not the first market you might think of when you think of advertising agencies.”
Professional video gaming is the next big thing. How big that is, though, is hard to say. Some estimates pegged it as a $493 million industry in 2016, others said it was nearly twice as big. As for the audience, some say it’s 85% male, others say it’s 56% male. No one really knows.
Nielsen says it’s ready to figure it out. The audience-measurement company is introducing a new division, Nielsen Esports, to quantify the rapidly growing industry for teams, sponsors, advertisers and publishers.
“Nielsen knows sports, Nielsen knows games, and we obviously know audience,” says Nicole Pike, VP of Nielsen Games, who will co-lead the new division. “To us that’s the perfect confluence of expertise to enter esports.”
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
A ridiculously belated ending to my review of the exhibition Trust Me, I’m an Artist which opened in Amsterdam in Spring (god, this is embarrassing!)
The works in this group exhibition explored themes as diverse as gene editing, the preservation of nuclear culture over thousands of generations or the risks associated with medical self-experimentation. What these artworks have in common, however, is that the artistic processes and results were submitted to a specially convened ethics committee that examined the responsibilities and possible prerogatives of art.
Do artists benefit from special privileges when they engage with the methods, materials and technologies of science? Should they be entitled to more freedom when exploring biotechnological protocols and processes? Or should they be submitted to the same obligations and liability as the scientists? And finally, do art and science collaborations bring about new ethical dilemmas, new debates and challenges?
The Trust Me I’m an Artist exhibition was the result of a European research project of the same name that aimed to help artists, cultural institutions and audiences understand the ethical issues that arise in the creation and display of artworks developed in collaboration with scientific institutions.
I already wrote about some of the artworks when i visited the show in Amsterdam, here are the three last one. They are equally thought-provoking but involve performances i didn’t get to witness.
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Martin O’Brien was born with Cystic fibrosis, a genetic disorder that affects the respiratory and digestive system, in particular the cells that produce mucus, sweat and digestive juices. Improvements in treatments mean patients may live well into their 40s (with some into their 50s) but there is no known cure for it. O’Brien’s private life is thus marked by a daily and intimate engagement with biomedicine. And by the presence of death.
His performance Taste of Flesh / Bite Me I’m Yours used physical endurance, visceral disgust for bodily fluids and fear of contamination to confront the audience with their own uneasiness in presence of a perceived risk of infection.
The performance lasted 3 hours. O’Brien started chained to a pole in the middle of the space but gradually got closer to the audience, to the point of touching and even biting them.
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
The artist was interested in disrupting the boundaries between the spectator and the performer, and more generally between human bodies. He first broke those barriers by blowing bubbles made of water, washing up liquid and his own mucus onto the space, literally spreading his disease around. Some spectators tried to avoid the bubbles, others stood still and let them burst onto their bodies. The bubbles forced the spectators to reveal their own fears of contamination associated with the sick body.
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Martin O’Brien, Taste of Flesh / Bite Me I’m Yours, 2015. Photo: The Arts Catalyst
Another episode in the performance saw the artist pierce his lips. He then walked around the space with blood running down his chin, biting spectators one at a time until they pulled away. The roles were reversed in the second biting section when, naked and covered in green paint, O’Brien was chained onto a pole in a position that evoked the one of Saint Sebastian, a christian martyr commonly depicted in art tied to a post or tree and shot with arrows. Spectators were invited one by one to bite him on the body and as hard as they wanted. The ‘animalistic’ ritual gave the audience a taste of O’Brien’s skin. People suffering with CF have salty-tasting skin. The salts carried to the skin by perspiration are not reabsorbed when their body cools down.
Through this performance, the artist infected the audience. Physically, emotionally and metaphorically. Participants not only experienced a direct interaction with a chronically ill body and its bodily fluids but they also found themselves questioning the ethics of witnessing a suffering body in an art performance. They were also faced with their own physicality, mortality, fear of contamination and in most cases their privilege of good health.
Nicola Triscott, from the Arts Catalyst, wrote a fascinating text that discusses ethical dilemma of commissioning a work that engage so viscerally with the artist’s and the audience’s safety and well-being.
Špela Petri? , Skotopoiesis. Confronting Vegetal Otherness, at the Click Festival in Helsingor, Denmark, 2017. Photo by Miha Turši?
Špela Petri? , Skotopoiesis. Confronting Vegetal Otherness, at the Click Festival in Helsingor, Denmark, 2017. Photo by Miha Turši?
Špela Petri? , Skotopoiesis. Confronting Vegetal Otherness, at the Click Festival in Helsingor, Denmark, 2017. Photo by Miha Turši?
Špela Petri? , Skotopoiesis. Confronting Vegetal Otherness, at the Click Festival in Helsingor, Denmark, 2017. Photo by Miha Turši?
Špela Petri? , Confronting Vegetal Otherness. Skotopoiesis, at the Click Festival in Helsingor, Denmark, 2017. Photo by Miha Turši?
Špela Petri? , Confronting Vegetal Otherness. Skotopoiesis, at the Click Festival in Helsingor, Denmark, 2017. Photo by Miha Turši?
With Confronting Vegetal Otherness. Skotopoiesis (meaning shaped by darkness), Špela Petri? attempted to understand plants on their terms by submitting her body to the rhythm of the ‘vegetal aliens.’ Over the course of this 12 hour-long experiment in inter-cognition, the artist and a field of germinating cress face each other. Light is shining onto the cress but the artist’s body throws a shadow onto it. Over time, the plants growing under her shadow become paler. The effect is mediated by phytochromes, a photoreceptor and a pigment in plants, and some animals, that detects light and regulates a number of responses including the synthesis of chlorophyll. The diminished light intensity also stimulates the production of auxin, a plant hormone that promotes stem elongation. The stems of the cress gets longer, the leaves sparser, all in an effort by the plant to grow away from the shadow. As the cress elongates, the body of the artist shrinks under the strain of remaining in a state of “vegetalized” immobility.
As Petri? explains:
My goal during the artistic research is to explore the possible biosemiotic cross-section of humans and plants at various levels of organization, challenging the prospect of intercognition – a process during which the plant and the human exchange physico-chemical signals and hence perturb each other’s state. Attention is brought to the materiality of the relation, which results in a perceptible manifestation, a change that can be observed in both partners of the exchange.
Petri? has previously worked with her own body, with rats and with mussels. Some of these works have been regarded as controversial because of the way she was ‘instrumentalizing’ animals. No one, however, objected to her using plants in an art project.
While exploring the possibility of establishing a connection with plants, the artist brings to light the difficulty for the human sensorial apparatus to fully comprehend the complexity of vegetal communities. If we can’t empathize with plants, how can we claim that we know them? How can we be comfortable with the idea that they are excluded from contemporary ethical discourses?
Kira O’Reilly and Jennifer Willet, Be-wildering performance. Photo: Bas de Brouwer
Kira O’Reilly and Jennifer Willet, Be-wildering performance. Photo: Bas de Brouwer
Kira O’Reilly and Jennifer Willet, Be-wildering performance. Photo: Bas de Brouwer
Kira O’Reilly and Jennifer Willet‘s collaboration explored the possibility of “re-wilding” their art/science practices in various settings. During the performance in Amsterdam, Willet collected samples from O’Reilly’s bodily fluids and then stored them inside one of the little spheres of her frilly lab coat.
Willet intends to wear the coat for a year, without ever washing it. She plans to wear the garment both inside and outside science laboratories. Over time, the coat will accumulate micro-organisms that shouldn’t normally be introduced into science labs (or outside of them) and new eco-system will grow.
By smuggling of biomaterials across continents and settings, the work explores the rules of non-contamination between various areas (lab/outside the lab, between countries that have different rules regarding lab sterilization, etc), the spread of invasive species, the difficulty of creating true wilderness, etc.
Previously: Trust Me I’m an Artist. Ethics surrounding art & science collaborations (part 1) and Inheritance, a precious heirloom made of gold and radioactive stones.
Trust Me, I’m an Artist is curated by Anna Dumitriu and Lucas Evers along with project partners Nicola Triscott, Louise Emma Whiteley, Jurij Krpan. Trust Me, I’m an Artist was exhibited at Zone2Source’s Het Glazen Huis in the Amstelpark in Amsterdam and closed on the 25th of June.
To know more about the performances, don’t miss the podcasts in which art critic Annick Bureaud discusses with the artists: Taste of Flesh / Bite Me I’m Yours, as Seen by the Artist, Meeting with Martin O’Brien and Confronting Vegetal Otherness: Skotopoiesis, as Seen by the Artist, meeting with Špela Petri?.
The Waag Society has a flickr set of the exhibition and of the Be-wildering performance. I also uploaded a few images online.
The project Trust Me I’m an Artist: Towards an Ethics of Art/Science Collaboration was set up by artist Anna Dumitriu and Professor of Clinical and Biomedical Ethics Bobbie Farsides in collaboration with Waag Society and Leiden University.
Category: Beyond Madison Avenue
Summary: Enabled publisher clients will get credit for Facebook and YouTube distributed video, while Hulu will provide certain partners with credit for series content on its platform.
Ad Age “Media Guy” columnist Simon Dumenco’s media roundup for the morning of Wednesday, Aug. 16:
It’s no exaggeration to say that the media is collectively in shock in the wake of President Donald Trump’s Tuesday Trump Tower press conference. Social media too (#ImpeachTrump was a top 10 trending topic on Twitter much of last night). Anyway, let’s get started …
1. A helpful guide from CNN’s Gregory Krieg: “The 14 most shocking comments from Trump’s Charlottesville news conference,” including:
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