Duracell is an American manufacturing company that produces batteries and smart power systems. These visuals express the idea that power is a vector of pleasure and that DURACELL embodies this promise. No electric objects have been staged in this campaign to leave room for sports accessories that evoke action and power.
Duracell is an American manufacturing company that produces batteries and smart power systems. These visuals express the idea that power is a vector of pleasure and that DURACELL embodies this promise. No electric objects have been staged in this campaign to leave room for sports accessories that evoke action and power.
Strategic brand consulting and design firm Landor has named a new chief executive.
Jane Geraghty will succeed Lois Jacobs as CEO at the beginning of 2018.
Jacobs has served as Landor’s CEO since November of 2013, following four and a half years as CEO of global brand consultancy FITCH. She joined FITCH after eleven years with Jack Morton Worldwide, where she served as international president.
Geraghty joined Landor as a managing director in April of 2011 and was named president of Landor EMEA two years later, and also opened Landor Instanbul. Before joining Landor she spent over two and a half years as managing director with Naked Communications, following a year as content development director with ITV. Prior to that she spent two years leading client services and development for Kirshenbaum Bond and Partners. Over the course of her two decades of experience in client service and brand experience, she has worked with clients including Bayer, BMW, Adecco, BP, Barclays, and Intu.
“I’m excited to be leading the team at Landor. We have incredible people doing fascinating work for amazing clients, so it’s a real honor. As the world moves more quickly, choice explodes and technology continues to transform the way we behave—brand has become an ever-more important differentiator,” Geraghty said in a statement. “The work we’ve been doing under Lois’ leadership has meant that we are very well placed to make the most of the opportunities in today’s dynamic environment. I plan to build on that.”
“To collaborate with and lead the smart, talented, and passionate people at Landor has been a highlight of my career to date,” Jacobs added. “Over the past few years we’ve had an exciting time changing radically our approach to creating and evolving brands. Our new Brand Community Model for brand management is achieving great traction with our clients and Jane is the perfect person to continue this momentum.”
Since ours is an era of decreasing attention spans and diminished capacity for nuance, we are not particularly surprised to learn that multiple news outlets have recently run stories about how Denny’s not-new “mascot” kind of resembles a literal piece of crap.
This particular blog is all about the ad industry, so we are used to trafficking in stories that wouldn’t be of interest to the general public. But Mashable, Fox News, CBS, USA Today and quite a few more classic news organizations have, over the past two days, reported on the fact that one guy on Twitter compared the Sausage icon to a “turd.”
The Dennys turd is here with lunch pic.twitter.com/uoqLsi2xzt
— AmericanPropagandist (@ArmyStrang) September 9, 2017
Mashable seems to have gotten it all started when someone happened upon said tweet, and then everybody else piled on. It’s kind of amusing to compare the headlines as writers try to offer their own twists on this very basic viral take in order to get the clicks and the advertising dollars. It’s like they’re producing copy or something.
A couple of problems with the story, though: the mascot isn’t new, and it isn’t a turd.
From Denny’s chief marketing officer John Dillon:
“Denny’s launched the ‘Grand Slams’ web series in 2014, and ‘Sausage’ has been an important part of the family since then, along with his counterparts ‘Egg,’ ‘Pancake’ and ‘Bacon.’ That said, Sausage has been looking for an opportunity to out-shadow his breakfast counterparts for a while, so it was only a matter of time before he tried to jump into the spotlight. While this unflattering comparison was never in his plan, he won’t let it stop him from enjoying his 15 minutes of fame.
We do not have any plans to change how Sausage looks because…well, he looks exactly how a breakfast sausage should look. And of course, we’d hate to give Sausage a complex because we—and his Grand Slams family—love him just the way he is!”
For context—because why in the hell are we posting on this in the first place—Denny’s collaborated with Robot Chicken production company Stoopid Buddy Studios and its creative agency of record EP & Co. (formerly known as Erwin Penland) to develop the Grand Slam characters more than three years ago.
Chief creative officer Con Williamson later told Adweek that it was all about embodying the brand’s snarky online persona. And it paid off with millions of views on YouTube. “It’s almost like we’re playing with our food,” Williamson said at the time. “We don’t have to put the product in there, because they are the product.”
We would mention the very serious events happening throughout the world right now, but suffice to say they are many. And our current digital advertising model has reduced organizations like the TODAY Show and even The Associated Press to reaching out for comment on whether or not this old mascot is supposed to look like poop. How meta, given the headline on this post.
To use another stock phrase rendered completely meaningless by The Internet: what a time to be alive.
The Netflix cocaine drama Narcos has always gotten great advertising, and this latest effort from DonerLA is no exception–a contextual out-of-home campaign that puts ads in the bathrooms of clubs and bars, where customers in the ’90s would have been sampling the product that the Cali Cartel was distributing. “Here in the ’90s? There’s an…
If you’ve heard a lot about Dmexcoand you’ve probably heard more every yearbut haven’t been yet yourself, we’ve got your cheat sheet right here.
Dmexco. What does that stand for? Digital Marketing Expo and Conference. It’s a two-day event that takes place Sept. 13 and 14 at Kolenmesse, a giant exhibition site just outside Cologne in Germany. (No, it’s not in Mexico).
How long has that been going on? Nine years.
Marc Pritchard sees digital media players making progress on transparency and brand-safety, but the chief brand officer of Procter & Gamble Co., the world’s biggest advertiser, has an even more fundamental problem: People really don’t want to watch ads, particularly in social media.
So he’s pressing the biggest players to help come up with “the next generation of digital ads.” In a speech to Dmexco on Wednesday, Pritchard pointed to average digital ad viewing time of 1.7 seconds, with only 20% of ads viewed more than 2 seconds That’s one reason he believes the marketing world collectively is only delivering low-single-digit sales growth despite $200 bilion in digital and $600 billion in broader marketing spending.
“Obviously we stopped wasting money on 30-second ads, and we’re designing ads to work in 2 seconds,” Pritchard said, according to an advance transcript. “Of course, we’re negotiating to pay only for the ads people actually see. But this raises a deeper question. Looking at it through the lens of the consumer, how valuable are these ads? For example, people use social media to share things about their lives with each other. And let’s face it, ads are annoying in that context.”
The trio that transformed Grey London from a pedestrian outpost of a global network into one of London’s hottest creative shops, and then abruptly quit, launches a much-anticipated startup today.
Nils Leonard, Grey London’s ex-chairman and chief creative officer, is opening Uncommon Creative Studio with his former chief executive, Lucy Jameson, and managing director, Natalie Graeme.
They quit in June 2016, and have been serving out the non-compete agreements that are strictly enforced at WPP shops. (A previous WPP breakaway, by RKCR/Y&R execs to form Adam & Eve, jumped the gun and those execs ended up having to both pay and apologize to WPP).
Ads don’t often focus on the people who make the ads, but Dove will spend the early part of its 60-second ad on Sunday’s CBS Emmys broadcast highlighting the 100 percent female production crew behind the work, led by Shonda Rhimes.
“Tonight as television honors women on screen and behind the scenes, so do we,” the commerical crows.
Along with getting the writer and producer of such hits as “Grey’s Anatomy” and “Scandal” to make ads though its Real Beauty Productions, the Unilever brand always intended to go with an entirely female crew. But Unilever VP of U.S. Skin Cleansing and Baby Care Nick Soukas says he didn’t talk about that when the initiative launches this spring, frankly because he wasn’t sure the brand could pull it off. “It’s actually harder to do than it sounds,” he says. Besides Rhimes as creative director, the crew is led by documentary filmmaker Liz Grabus as director.
Marla Kapolowitz promised change when she took over at 4A’s, and she’s delivering: The century-old agency organization is weighing whether to allow consultancies, such as Accenture and Deloitte Digital, to join.
The move is almost certain to stoke controversy in an industry where many agencies view consultancies as heated rivals. The 4A’s board is meeting next week and people with knowledge of the matter believe this will be one of the topics of discussion, though Ms. Kaplowitz would not confirm that.
“It’s something we’re looking at given what’s happening from an industry perspective,” says Kaplowitz, who took the helm at the 4A’s as president-CEO earlier this year. She adds that the likes of Accenture, Deloitte Digital’s Heat and IBM ix, among others, have expressed interest in joining the association. A decision by the board is expected by the end of the year.
Marc Pritchard sees digital media players making progress on transparency and brand-safety, but the chief brand officer of Procter & Gamble Co., the world’s biggest advertiser, has an even more fundamental problem: People really don’t want to watch ads, particularly in social media.
So he’s pressing the biggest players to help come up with “the next generation of digital ads.” In a speech to Dmexco on Wednesday, Pritchard pointed to average digital ad viewing time of 1.7 seconds, with only 20% of ads viewed more than 2 seconds That’s one reason he believes the marketing world collectively is only delivering low-single-digit sales growth despite $200 bilion in digital and $600 billion in broader marketing spending.
“Obviously we stopped wasting money on 30-second ads, and we’re designing ads to work in 2 seconds,” Pritchard said, according to an advance transcript. “Of course, we’re negotiating to pay only for the ads people actually see. But this raises a deeper question. Looking at it through the lens of the consumer, how valuable are these ads? For example, people use social media to share things about their lives with each other. And let’s face it, ads are annoying in that context.”
Amazon.com is hiring by the hundreds in China to fill jobs ranging from internet software engineers to designers for Alexa, positioning the company to recoup some of the market share it lost to Alibaba Group Holding Ltd. in the world’s largest online shopping arena.
The online retail giant lists almost 400 Chinese-based openings on its careers website and more than 900 on LinkedIn. They include senior executives to manage and acquire content, a leader to expand its fledgling Amazon Lending program and a head for its storefront on Alibaba’s Tmall. And it’s hiring a hardware engineer to, among other things, evangelize for digital assistant Alexa, which works with third party products even though the Echo speaker isn’t available in China.
While the Seattle-based company still sells goods from abroad to Chinese consumers and has local cloud computing customers, Amazon’s been relegated to a bit player in a domestic e-commerce market dominated by Alibaba and JD.Com. But like fellow U.S. companies Facebook and Google, it isn’t giving up on the world’s most populous nation despite powerful domestic players and increasing government restrictions on foreign businesses.
It is often noted that many great directors began their careers as editors — that is certainly true of Paul Stone, the editor-turned-indie filmmaker-turned commercial director who has joined the roster of Spears & Arrows, the three-year-old comme
Area man rides the elevator, feels alienated from society. But wait! The elevator door opens to reveal another elevator! And in that elevator, is a man, dressed just like the other man! So the man walks over and realizes that the other man is wearing a wig!
BestFriend, the bicoastal production company launched by industry vet Zak Thornborough, has added automotive/lifestyle director Nicolai Iuul to its roster.
Catchy pop from Kelly Clarkson in a 1960’s surreal world of cool cars, cliff-side houses, fun outfits and at one point um, joined heads. I dunno, Just enjoy the ride.
In January 2015 the Philharmonie de Paris opened its doors, hosting the Orchestra of Paris and symphonies from around the world, as well as musicians of all backgrounds, delivering a plethora of musical discoveries.
Since its inauguration, the Philharmonie de Paris has worked on the principle of accessibility and open-mindedness, towards music and people.
Facebook has launched tougher rules on brand safety because it admits some marketers are “feeling uneasy” about where their ads have appeared and want “clearer guidance”.
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