Padna Express "Celebrating Chinese New Year" (2018) 1:47 (USA)
Posted in: UncategorizedChinese New Year is less than ten days away. Reach Agency tapped a special artist to help Panda Express celebrate.
Chinese New Year is less than ten days away. Reach Agency tapped a special artist to help Panda Express celebrate.
This is a guest post by Fluid associate director of data analytics and former Goodby Silverstein & Partners analyst Rigel Cable.
Judging by the Twitter uproar, the biggest marketing fumble of Super Bowl 2018 was the Dodge Ram ad that featured a voiceover from Martin Luther King Jr.’s February 4th, 1968 sermon “Drum Major Instinct.” Many asked “how could a car company use the inspirational words of a civil rights leader to promote a truck??”
There’s no doubt that marketers see political activism as a “zeitgeist” or cultural trend worth connecting to, since typically a cultural connection makes ads more impactful. There have been too many times in the last few years where brands tried to capture the energy and emotion of activism around the country–protests related to Black Lives Matter, women’s rights, immigration, the LGBTQ community, and other equal rights movements. Less than a year ago, a Pepsi commercial featuring Kendall Jenner suggested sharing a can of Pepsi could solve all the nation’s problems, and trivialized these political movements.
A community’s drive for survival should not be commercialized into marketing campaigns. There is a bold line (not even a fine line!) of distinction between co-opting these movements and joining them. At an extreme, this trend can be seen as the worst thrust of capitalism: an attempt to make money off of human pain. At best, it’s seen as tone deaf.
What could be done differently?
It’s unfortunate when brands make a stumble, because it can cause a lot of stress for the marketers involved and can offend groups of people. So here are a few ideas about how to set up for success.
So, how can brands approach social justice, cause marketing, and diversity in a non-polarizing way?
Personally, as a marketer and activist, I believe that these topics are best suited for funded programs rather than ads. This is because these movements, at the end of the day, are about real world problems, and therefore in order to honestly connect marketing to “causes,” real work has to be done.
A few examples that come to mind are Warby Parker Buy A Pair, Give A Pair and Starbucks ethically sourced products. These are programs that impact real people’s lives for the better and help solve specific problems, like access to eye care and fair trade in agriculture.
But, sometimes advertisements do get diversity right: the Fenty Beauty ad does a great job of celebrating diversity and having products that back it up. The product launch has been praised for its multi-win strategy of finally representing a full range of skin tones, including a diverse range of models in their marketing, as well as being cruelty-free. That’s what it looks like to walk the walk of a progressive company in America.
First and foremost, companies sell products and services, so it’s not important that companies try to change the world through cinematics in advertising. It’s more important that they change the world through their products, how they are made, and who they employ. Corporations have an opportunity to do real work in the world to make our communities better for everyone.
Something to think about before spending $5 million next year on a Super Bowl ad.
Tuesday’s SpaceX launch of its Falcon Heavy rocket, and the use of its payload capacity to launch Elon Musk’s Tesla into space, was a triumph of private aerospace engineering, one helluva marketing stunt … and possibly the most awesome expression of a midlife crisis ever, according to Stephen Colbert. On “The Late Show” last night, Colbert noted that “The launch was to demonstrate that the Falcon was not only reusable, but the Falcon Heavy can carry a large payload. So to test it, Elon Musk sent up his own Tesla convertible with a dummy astronaut at the wheel, blasting David Bowie’s ‘Life on Mars.’ That’s right, this is absolutely truea giant phallus cranking rock ‘n’ roll, releasing a red convertible into the dark void. And the award for Most Midlife Crisis goes to Elon Musk.”
Women were slightly easier to spot in Super Bowl ads this year but still fared notably worse than men and even lost ground by one measure.
The proportion of Super Bowl ads including women at all grew to 73 percent from 62 percent, the research firm ABX says. Men, by comparison, appeared in 88 percent of the spots, up from 86 percent.
Super Bowl ads where women played a modest role grew to 34 percent of the total from 21 percent a year ago, ABX calculates. But the percentage of ads where women played a “significant” role fell to 34 percent from 43 percent. Men were prominent in 72 percent of the ads.
Nearly half a year after GroupM first announced it would be combining Maxus and MEC into a new agency, Wavemaker has its first U.S. win: Software giant Adobe.
Wavemaker will lead all online and offline media communications buying and planning across Adobe’s Creative, Experience and Document Clouds. It’s an extension of Wavemaker’s existing relationship with the client in Europe; MEC Switzerland had a relationship with the brand in Europe for more than a decade.
Adobe previously worked with its longtime creative agency Goodby Silverstein & Partners for media. Goodby remains Adobe’s creative agency of record.
When Gerber baby food first appeared on store shelves in 1927, it freed countless mothers from the chore of straining vegetables for their own infants. But while the food inside the jar turned some heads, the label on the outside turned even more. It featured a pencil sketch of an idealized American infant. Her name…
Despite ESPN’s attempt to paint a rosy picture, the “Worldwide Leader in Sports” has been losing some of its luster for quite some time now. The company boasts an average of 2.058 million viewers in primetime in 2017 across TV and streaming–which is up 7 percent from 2016–and a 1 percent rise in average total-day…
Women were slightly easier to spot in Super Bowl ads this year but still fared notably worse than men and even lost ground by one measure.
The proportion of Super Bowl ads including women at all grew to 73 percent from 62 percent, the research firm ABX says. Men, by comparison, appeared in 88 percent of the spots, up from 86 percent.
Super Bowl ads where women played a modest role grew to 34 percent of the total from 21 percent a year ago, ABX calculates. But the percentage of ads where women played a “significant” role fell to 34 percent from 43 percent. Men were prominent in 72 percent of the ads.
Netflix has improved the prospects that a Super Bowl viewer will buy its product more than any other big-game advertiser, according to YouGov BrandIndex research. Netflix used its ad time in Super Bowl 18 to promote “The Cloverfield Paradox,” a new installment in J.J. Abrams’ sci-fi “Cloverfield” franchise.
YouGov BrandIndex, which says it conducts online interviews of 4,800 people each weekday from a representative U.S. population sample, compared its findings on Super Bowl advertisers from January with its findings in the three days after this year’s game.
Other Super Bowl advertisers with big lifts in purchase consideration included Hulu, Mtn Dew, Hyundai and Stella Artoisbrands with a grab bag of approaches.
Kia may have scored some kudos and Lexus attracted eyeballs with Super Bowl ads on Sunday. But no auto brand has pulled off a publicity stunt quite like the one Tesla just managed.
Elon Musk’s very own cherry red Tesla Roadster floated through space to the cheers of a crowd and David Bowie’s “Life on Mars?” at the end of a 43-minute webcast that drew millions of viewers Tuesday afternoon. The sports car was the payload for the flight of the Falcon Heavy rocket that Musk’s SpaceX launched for the first time.
Images of the car posted by Musk on Twitter and Instagram will serve as the latest example of electric-car maker’s unconventional promotion methods. It’s shunned traditional auto advertising and relied on its CEO’s star power to become a $57 billion company, making it more valuable than Ford Motor Co.
Weight Watchers’ other efforts include tweaks to its own Connect platform, which allows members to communicate with one another. It’s also trying to get more personal with members, for example, sending texts or little gifts when people reach milestones or seem to be struggling. And it’s opening an office in San Francisco to help recruit tech talent.
The stock, which soared when the relationship with Winfrey was formed, has continued to climb. On Wednesday, it was trading above $74 for the first time since 2012.
Kia may have scored some kudos and Lexus attracted eyeballs with Super Bowl ads on Sunday. But no auto brand has pulled off a publicity stunt quite like the one Tesla just managed.
Elon Musk’s very own cherry red Tesla Roadster floated through space to the cheers of a crowd and David Bowie’s “Life on Mars?” at the end of a 43-minute webcast that drew millions of viewers Tuesday afternoon. The sports car was the payload for the flight of the Falcon Heavy rocket that Musk’s SpaceX launched for the first time.
Images of the car posted by Musk on Twitter and Instagram will serve as the latest example of electric-car maker’s unconventional promotion methods. It’s shunned traditional auto advertising and relied on its CEO’s star power to become a $57 billion company, making it more valuable than Ford Motor Co.
Facebook has poached another one of the agency world’s leading lights.
VP, creative director Andrea Mileskiewicz recently left MullenLowe in Boston to accept a position in the creative department at the social media giant’s Menlo Park headquarters.
She spent a decade with the IPG network.
“Rare is the time a Creative Director can say one agency made them who they are. I can. Proudly. Having started as a creative coordinator in Wenham 10 years ago, my creative career is 100% the result of being influenced, inspired, pushed and supported by MullenLowe and its progressive leadership,” Mileskiewicz said. “Incredible people like Tim Vaccarino, Dave Weist, Mark Wenneker and so many others. I go forward confidently knowing I learned from some of the best brains and biggest hearts.”
She added, “I’m personally and professionally so appreciative. Impacted. Indebted. And I’m beyond excited to take everything I’ve learned to the cultural cornerstone that is Facebook.”
Mileskiewicz’s best-known work may have been for American Greetings. She was ACD and copywriter on “The World’s Toughest Job,” the 2014 gotcha campaign that earned plaudits for turning attention toward America’s hard-working moms while setting yet-to-be-beat traffic records at a certain trade publication (thank you, Facebook). She was also CD on the client’s most recent campaign, released earlier this week.
Mileskiewicz has earned various industry plaudits throughout her career. Business Insider included her on its 2014 “Most Creative Women in Advertising” list, and she appeared on Adweek’s inaugural “Creative 100” the following year. In 2017, she served as a Cannes Lions judge.
A now-former MullenLowe colleague describes her departure as “a big loss.” She will hold the title of creative director at Facebook.
Omnicom has promoted Wendy Clark to the role of DDB global president and CEO. Clark, who formerly served as North American CEO, reports directly to Omnicom CEO John Wren and succeeds Chuck Brymer, who will move into the chairman role. “After 12 terrific years as the head of DDB, I am excited to hand the…