Male chicks are adorable, majestic, tragically doomed waste products in this student-created ad that PETA loved enough to turn into an official spot.
German director Djawid Hakimyar tells AdFreak the story behind this Easter-themed spec ad that he and his fellow film school students created and donated to the anti-cruelty organization:
"We rescued three male chicks from a hatchery in Germany. Usually they would have been killed by a grinder or gas. We shot just half an hour with them on a farm with a Phantom Flex camera and a blue-screen background. The three little male chicks now live free on this small farm.
"After we finished the 'Flying Chicks' ad, we showed it to PETA and they loved our work. We and the Filmakademie Baden-Wuerttemberg donated the ad to PETA and they will spread it in a couple of days on the Internet."
CREDITS
Production Company: Filmakademie Baden-Wuerttemberg Scriptwriter, Director: Djawid Hakimyar Producer: Dominko Gudelj Director of Photography: Simon Drescher Editor: Henning Nolte Music: Schnack Music Manufacture Supported by: Leithaus Filmproduktion, LBBW-Stiftung, Der Sonnenhof, Dedo Weigert Film Presented by: PETA Deutschland e.V.
Microsoft wants to make sure you remember the famous image of the blue sky and rolling pasture that graced so many computer screens for so long.
As the world mourns (or not) the end of the road for Windows XP—as of Tuesday, Microsoft is no longer offering support for the operating system—Microsoft Netherlands has posted this nine-minute film on its YouTube channel about XP's famous default wallpaper.
The backstory is told by Charles O'Rear, the photographer who snapped the iconic picture, aptly titled "Bliss," in 1996 along a California highway north of San Francisco (reports seem to differ on whether it's Napa or Sonoma).
The video is a bit slow moving, but is worth watching mostly because of O'Rear's amusement at having stumbled, quite literally, into the background of history, and because of the irony that the photo was, contrary to much speculation, shot on the kind of analog film that digital has rendered obsolete (though Microsoft ultimately cropped the shot and pumped up the greens before presenting it to users).
Notably absent is any specific discussion of how much Microsoft originally paid O'Rear for the rights to an image that this video touts as perhaps the most viewed in history. O'Rear does point out that the original print was valued too highly for regular shipping services like FedEx to be willing carry it … but the courier's current maximum declared value for packages containing photos clocks in at a whopping $1,000, not counting for inflation.
O'Rear has said in other interviews that the fee was the most he, previously a photographer for National Geographic, ever received for a photograph, and one of the largest amounts ever paid for a single shot.
Regardless, the fact is, the use of the photo was marketing genius, as it projects natural serenity in a totally generic kind of way. (Guesses as to its provenance ranged over the years from New Zealand to Ireland to Washington state.)
Still, as inoffensive—pleasant, even—as it is to look at, it's memorable mostly because it couldn't be avoided. So, while Microsoft deserves credit for having some fun with the news that it's retiring an era-defining product, it's also hard not to interpret it all as a legacy technology company lamenting its once-great history as its modern significance has waned.
They pout, they preen, they shill. And more than likely, they score.
The members of One Direction, boy band and global merchandising phenomenon, star in a new video that's not a total goof (not intentionally anyway) despite the presence of a fussy photographer named "Girolle." The short film, with its photo-shoot setup, hypes the singers' second perfume, called That Moment.
Not a card-carrying member of the 1D fan club? Then watching the vignette might be as painful as gargling a cucumber and cedarwood-scented cologne. But it comes as no shock that the young Brits are extending their female-fueled brand again. Their first perfume, Our Moment, was the fastest-selling fragrance of last year.
And so what if the just-released video is a mishmash of worn clichés, bad accents and faux seriousness? (And one bejeweled crotch!) Any glimpse of the superstars making silly faces, mugging for the camera or even drawing breath will probably move product.
What does That Moment really smell like? Green apple and greenbacks.
Open letters to brands rarely work, though it might help your odds of success if you happen to be a fashion writer for New York magazine and The Wall Street Journal.
Last August, freelance writer Jenni Avins penned an impassioned plea in New York magazine's The Cut blog, asking J. Crew to bring back its scoop back tank swimsuit.
"What I want is smooth, taut fabric that stretches from my shoulders over my chest and ribcage, with hip-high leg holes and an open back to expose my skin to sand, sunshine, and seawater. I want it available in evocatively named colors like hibiscus, marine, and bottle green (in black, it's simply unstoppable.)"
The letter touched the fashionable heart of J. Crew creative director Jenna Lyons, who immediately responded, saying she'd see what she could do. A few months later Lyons announced the swimwear's triumphant return in a two-page New York ad with a sassy, handwritten note that reads, "Dear Ms. Avins, Your wish is my command … within reason. XO Jenna."
It's an excellent example of a brand listening to and responding to the wishes of a loyal customer, buoyed by the PR boost of that customer being a writer for a high-profile publication. The only thing sad about it is that we, even those of us who are writers with decently large audiences, don't expect brands to actually listen.
So congrats, J. Crew, for being decent human beings who just couldn’t let a woman drown in a sea of shitty swimsuits.
So, here's a lovely little four-minute love story from Unilever's Cornetto ice cream brand in Turkey. And you're probably smarter than I am and can figure out what's actually going on in it. I've watched it at least five times, and I'm still confused.
I think it's kind of adorable and features the product in an unobtrusive way. And it's also a nice follow-up to last year's viral video from the brand.
It opens with the main character, a good looking guy, catching the eyes of the other main character, a good looking girl. I get that part. They spend the rest of the ad trying to find each other via social media. It's all set to a track by Turkish pop star Yal?n, who also makes an appearance … as a matchmaking fairy godfather. Maybe?
I can't really follow the plot, but it ends with the good-looking couple finishing off their Cornetto ice cream cones and making out while Yal?n looks on approvingly. I don't get that, either, but it's so cheesy it's cute.
I also find that the ad is much better if you mute the audio and play some Vivrant Thing instead. Your mileage may vary depending on your musical tastes.
Raise your brushes and rollers to toast Lithuania's McCann Vilnius, which recently packaged France's famed Beaujolais Nouveau in limited-edition paint cans for a fun self-promotion.
McCann says it wanted to show clients "that we are constantly reinventing ourselves and looking for a fresh perspective."
The creative concept began with a discussion about how the annually anticipated Beaujolais stains drinkers' teeth and lips purple. So the paint cans include a color chart showing how much you'll need to drink to achieve a specific hue.
For the promo, bags filled with wine were placed inside the tins, so there's no fear of a metallic taste. If you're in Lithuania, pick up a few when you head out to paint the town red!
For those of you blown away by The Barbarian Group's 4,400-square-foot undulating "superdesk," Gerry Graf wants you to know his offices are pretty damn impressive, too.
Much like TBG's snake-like, resin-poured desk, Barton F. Graf 9000 has its own impressively enormous piece of continuous furniture. It's called the floor. (And as the video points out at the beginning, "It's not a surfboard.")
Other interesting features of Graf's offices include clear panes of glass called windows, as well as individual desks where people might actually enjoy some personal space and get some work done.
If you haven't seen TBG's agency tour, check that one out first. Both are posted below.
Grey New York and its client, States United to Prevent Gun Violence, won a silver Lion in Film at Cannes last year for "Ed," their brutal spot about gun violence, set in a workplace.
The sequel, released today, titled "The Monster Is Real," takes place in a family home. Directed by Hornet's Yves Geleyn, the spot may be a cartoon, but that makes it no less devastating. We won't give away the plot, though the conclusion doesn't exactly come as a surprise. But again, that doesn't dull the impact much.
Critics will say that the kid wouldn't play with the gun if he was this afraid of it, though of course children aren't known for tempering their curiosity, either.
"In the wake of so many tragic mass shootings, the nation's focus has been on strengthening gun laws," says Sue Hornik, executive director of States United to Prevent Gun Violence. "But one preventable threat to children's safety is unlocked and loaded guns found around the house … the proverbial 'monster in the closet' of our new public service announcement."
In a release, the group also offered these sobering statistics:
• 1.5 million American children live in homes with unlocked and loaded firearms. • Every day at least six children 18 and under are injured in an unintentional shooting. • 75 percent of gun shot injuries to children under 10 that are serious enough to require hospitalization are due to unintentional shootings.
Credits below.
CREDITS Client: States United to Prevent Gun Violence Spot: "The Monster Is Real" Agency: Grey Worldwide Chief Creative Officer: Tor Myhren Deputy Worldwide Chief Creative Officer: Per Pedersen Executive Creative Directors: Rob Perillo, Rob Lenois Art Director: Evan Ortolani Copywriter: Daniel Alvarez Director of Broadcast: Bennett McCarroll Agency Executive Producer: James McPherson Agency Producer: Zach Fleming Account Director: Elizabeth Gilchrist Account Executive: John Nelson Production Company: Hornet Director: Yves Geleyn Executive Producer: Jan Stebbins Composer: Mark Mothersbaugh Music Company: Mutato Muzika Music Producer: Natalie Montgomery Music Engineer: Bradley Denniston Music Supervision: Zach Pollakoff Music, Sound Design: Dante Desole (Vision Post) Principal Talent: Samantha Mathis, Anthony Arkin
A heartfelt hatred of Comic Sans is required for every graphic designer and anyone who happens to have good taste. But while most people use it as a cruel joke or ironically, Craig Rozynski, an Australian designer in Japan, set out to fix the font's many shortcomings.
Figuring there is value in having a casual script typeface for informal documents, Rozynski created Comic Neue to challenge Comic Sans's supremacy in that area.
Available in two variants and three weights, Comic Neue "aspires to be the casual script choice for everyone including the typographically savvy," Rozynski writes. "The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape while maintaining the honesty that made Comic Sans so popular. It's perfect as a display face, for marking up comments and writing passive aggressive office memos."
In other words, it should appeal to the very people who are still defacing the world with Comic Sans.
You can even download the font for free right now. So get it for yourself and give it to friends. Together, we can stop the disease that is Comic Sans.
Famous advertising slogans are inseparable from the products and services they sell.
Or are they?
Inspired by our recent post about social media icons in Edward Hopper paintings, ad agency media strategist Ritesh Gupta sent us an intriguing set of images—a series of famous ad taglines, each placed next to a line drawing of a human fetus.
And far from being meaningless, many of the juxtapositions seem oddly perfect.
"I began to juxtapose some of the world's most memorable advertising slogans and taglines with an iconic, beautiful and powerful image: a fetus. I knew it was a silly idea for a personal project, but I realized this would be a beautiful, harrowing way to illustrate the idea that context is everything," Gupta writes on his website, where you can see more examples.
He adds: "The resulting juxtapositions range from fun sexual innuendo to PSA-level social commentary that really hits home for many (myself included)—enjoy!"
In a world where love is patient and love is kind, one couple refused to play by the rules. This summer, they're going to the chapel and someone's going to get … buried!
OK, so it was actually last fall, and no one died in a fiery blast. But these parodies of Hollywood blockbuster posters for the marriage of David DiCicco and Rachael Batts are still epic enough to make Michael Bay consider a second career as a wedding planner.
The posters were the work of the Virginia couple's close friend, Nashville-based photographer and designer Andres Martinez. After helping them create a Casablanca-themed save-the-date card, Martinez spent about a month creating a series of posters starring DiCicco and Batts, who displayed them at their wedding reception.
"It was definitely a labor of love, for sure," Martinez tells AdFreak. "It was a fun project. There are few people I'd rather do that kind of thing for."
What makes the posters truly impressive is the attention to detail, from recreating the lighting effects of the originals to matching the body positioning as closely as possible. Martinez said it was the perfect outlet for his passion for learning how iconic images are created: "As I've been shooting more and more, I find myself going to magazines and posters and just looking at them, trying to reverse engineer what's going on in the photo."
Late last week, Martinez and the now-married couple decided to share the posters on Reddit, where they rapidly shot to the front page. But their glory was short-lived, as Reddit moderators removed the post from the front page after about an hour because they were concerned about including the full real names of the couple and their friends.
Check out all the posters and their inspirations below:
Innovative newspaper ads are a rare beast. We've seen a few fun ones lately—the Game of Thrones ad with the dragon shadow; the ad for the movie The Book Thief with two almost completely blank pages.
Here's an interesting one from Colombia. It's an ad for kitchens hidden inside a fake classifieds page—thanks to a nifty 3-D effect applied to the text. "The kitchen you are imagining is in HiperCentro Corona," says the headline.
You can argue about how effective it might be. Is it too subtle? But it's conceptually strong (it's a great way to illustrate something that could be on your mind while idly reading a newspaper) and executed well, too. Plus, here we are talking about a newspaper ad from Colombia. How often does that happen?
Thai Life Insurance has unveiled another masterful mini-film by Ogilvy & Mather Bangkok, the latest in a string of tear-jerking, wait-to-watch-it-at-home-so-you-don't-openly-bawl-in-your-cubicle ads that make you think about what's important in life and why your own life is important.
"Unsung Hero," which clocks in at just over three minutes, will make you want to give of yourself to reap the rewards of the soul. It's not a charity campaign, but I'm off to give more to my favorite charity anyway.
If you want to keep on crying, have a look back at the company's 2011 ad, "Silence of Love."
If you want a drink that tastes like an entire kitchen, Japanese beverage marketer Kirin might suggest its Salt and Fruit soda. A new spot from the brand features a tiny, adorable kitchen (a 1/48 scale model, to be precise) inside a plastic bottle.
The miniature setup includes a sink, well-stocked refrigerator, cooking utensils and a woman. The craftsmanship is a pretty remarkable feat and comes complete with a soundtrack clearly designed to drive home the point that it is, in fact, very cute.
The beverage is part of Kirin's "Sekai no Kitchen Kara" series, which translates to "From the Kitchens of the World," and features flavors inspired by different locales. This one is apparently inspired by mothers in Thailand, though hopefully the flavors of moms and their cookware are relatively subtle.
It's not so strange for folks to bring cookies, cakes and candies to work and share them with colleagues. But for job applicants to prepare treats and serve them to prospective employers before even landing an interview? Not exactly business as usual.
Still, that's how Crystal Nunn applied for a junior designer position at We Are Social in London last August.
Nunn, an avid baker, prepared a batch of cookies using ingredients from Beyond Dark chocolate, a brand cofounded by We Are Social creative director James Nester. She designed a special box for the goodies labeled "Beyond Ideas," attached a thumb-drive containing her traditional résumé and portfolio, and hand-delivered the package in a brown wrapper marked "Urgent." Within an hour, We Are Social contacted Nunn for an interview; she got the job—and Beyond Dark, suitably impressed, sent her some chocolates and consulting work.
"The great thing about cookies is that they're perishable, so people are going to have to deal with it, even if it's just to throw them away," Nunn tells AdFreak. "Plus, who doesn't like cookies?"
Elaborate résumés and job applications are all the rage. Along with Nunn's cookies, notable examples include a detailed, Lego-esque model sent by a prospective account-service intern to ad agencies, and an impressive series of Grand Budapest Hotel trailers created by media artist Youyou Yang to demonstrate her filmmaking skills to Wes Anderson.
"If there's a place you really want to work for, show them why," Nunn says. "Build a rapport with them by having a voice—comment and share what they put on their blog and social media channels. Go above and beyond. Find out who your future bosses will be and tailor you job application to them.
"I've done the sending digital CVs online, 100 a day in some cases, and it's really not effective when you're competing against hundreds of other applications. You need to blow the rest out of the water and do something different. Think outside the box."
And if you do think inside the box, don't forget the cookies!
@TheButchersDog@doodlefool They look amazing & beautifully presented! Does this mean we've played a part in a new professional relationship— Beyond Dark Drops (@BeyondDarkDrops) August 12, 2013
Most startups and creative talents would be proud to pull off one successful Kickstarter. But multi-talented musician Kawehi has just wrapped up her fifth, this time bringing in 10 times her goal and scoring widespread acclaim for her cover of Nirvana's "Heart-Shaped Box."
We recently caught up with Kawehi (pronounced kah-VAY-hee) and asked her what advice she has to share with those aspiring to similar levels of Kickstarter greatness. We've also sprinkled in some of her music below, which will probably go further toward explaining her success than a Q&A could.
AdFreak: You've run six Kickstarter campaigns so far, and five have far exceeded your goals. The most recent, Robot Heart, brought in nearly 10 times as much money as you requested. Do you ever think you're being too conservative about what you can raise?
Kawehi: Could I raise more than I ask for? With the right amount of work, and with such amazing fans/support team, probably. But I think it's important to only ask for as much as you need. A lot of people come up with some astronomical number—without doing research and proper planning. I usually make EPs, which run anywhere from three to five songs. It's a much smaller project than an entire album, hence the much smaller funding goal.
I also do a lot more projects than most—it's pretty common to do one Kickstarter project a year. I usually do around three. It wouldn't feel right to me if I asked for more than I needed three times a year from my amazing fans.
With Robot Heart, how will raising $29,000 change the scope of a project you originally budgeted at $3,000?
For years now, I've been an independent artist. My husband, Paul, produces my music, shoots all of my music videos—while I write all of the music, handmake every CD/DVD, host livestream concerts, do essentially everything a record label would do—and personalize every Kickstarter package. It's been a two-person show for a while now.
We're definitely going to be able to afford a little help this time around—hire a local business to help out with making the CDs, hire local college students who need extra cash and want to be in the music business to help me put the packages together, help Paul with recording, learn a few things behind the scenes. It'll be really great to have all of this extra help and be able to invest into the community we live in with the extra money we raised.
What do you think made your Robot Heart campaign such a hit? Was it all the pass-around for your cover of "Heart-Shaped Box"?
Pretty much. I think before "Heart-Shaped Box" came out, I was at about $7,000. So the video definitely helped!
People magazine recently called your version "the Internet's favorite Nirvana cover." But it seems to have its share of detractors, too, who think it's too different from Nirvana's signature roughness. What kind of balance were you going for?
I always try to keep the integrity of the song—and I think the best way to do that is to be as creative as you can be. As a singer/songwriter, I would respect anyone who covered my song in a way that I wouldn't have thought of myself while still keeping the right emotions of the song.
I realize that by getting creative, that usually means coming from a different place/angle, and a lot of times, people don't like it. But I don't make music because I want people to like me—if they do, that's just a perk. 🙂 I make music because I have to, because I love to, because I couldn't imagine my life without it.
Everyone says great videos are the key to great Kickstarters. But yours are relatively simple and low budget. What do you think makes a good Kickstarter video?
I think it's more important to come up with a creative video than a high budget video. For my project VOX (where I was making an all-vocal EP), I wrote an all-vocal song about the project and performed it live—while flipping cue cards. For TOY (where I was making an EP with toy instruments), I wrote a song and looped it live with all toy instruments.
For Robot Heart, I dressed up in a homemade cardboard box robot suit. Quality is still important—I never just open up my laptop and shoot a video from there—but I think the idea behind the video is infinitely more important. And it should bring your project to life so people understand what the project is—why you're doing it, and ultimately, why they should be a part of it.
Your first Kickstarter in 2011 didn't get very far, with $1,315 raised toward a $15,000 goal. What did you learn from that experience that made your later campaigns such a hit?
I learned that it's foolish to think things will just "happen." I was so bummed after that failure. So I took a whole year to research. I looked into other successful projects, saw what they were doing, tried to come up with my own version of that. I also realized that I needed to put a LOT more work into building the right kind of fan base.
It was a horrible feeling—that failure—but I'm so happy that I lived that, because I'll never want to be there again.
For you, is Kickstarter more about building a long-term fan community than raising short-term funds?
It is. And I think if you have that kind of mentality, you'll have great projects. I don't do Kickstarter campaigns for short-term funds. I do it because it's a long-term path I chose—to stay independent, to do the kind of music I love and hopefully the kind of music my supporters will love.
Would it be easier to just sign with a label who'll financially support my project? Most likely. But the sacrifices I'd have to make creatively … I'm not willing to give that up. So I choose this path—and it allows me to create the way I want while allowing my fan community/support team to be there, right alongside me, experiencing it together.
Any other advice for someone who wants to launch a successful Kickstarter campaign?
Do the work. Do the research. Put out tons of quality material. Make good product and engage with your fan community. They're the ones making it happen—I never forget that, and neither should they!
Veet, the hair-removal brand, has a new ad campaign out from Havas Worldwide with the theme "Don't risk dudeness." Three ads feature women who turn into hairy, overweight men (actually, the same hairy, overweight man) because they "shaved yesterday."
A lover is disgusted, a nail technician is appalled, and a taxi driver refuses service because these gorgeous women are now sporting a whole 11 hours of hair growth. "Don't risk dudeness," Veet tells us, and follows up with the tagline, "Feel womanly around the clock."
I'm no Letterman, but he's retiring and I just drank a lot of iced tea, so I'm feeling good and I'll take a shot at a list. Check out the first ad below (it breaks tonight during Dancing with the Stars on ABC), and then my take on five things wrong with this strange campaign.
5. It makes fools of both men and women. Veet impressively accomplishes the task of ridiculing both men and women here. The burly guy in the nightie speaks in a baby-girl voice, doing neither gender any favors.
To its credit, Veet has left the YouTube comments open, but it's not looking good. "I'm kind of dumbfounded as to how a campaign like this was passed when it's pushing a lot of really old ideas about gender typing," says the second of only two comments so far. (The first wasn't kind either.) "So if a woman doesn't shave her legs, it makes her a man? If a man wakes up next to his girlfriend, who hasn't shaved her legs in a day or two, it'll completely repulse him? It's considered 'rude?' If a man shaved his legs would it make him a woman?"
4. It's empirically wrong. Realistically, not shaving for one day still goes unnoticed at the beach. I polled other women for this one. Results may vary, but no one's turning into Chewbacca overnight.
3. It's dumb. Everything is exaggerated in a way that's supposed to be funny, but comes off as cringe-inducing—for example, the taxi driver who leaves the EW SO GROSS woman behind in one of the two spots below. (Also, the word "dudeness" can be bullet item 3b.)
2. It's mildly homophobic. Guys are repulsed by other guys? I know this is supposed to be comedy, but … eh.
1. It shames women. Telling women that they're less womanly if they miss a spot shaving their legs in the shower, or if they're part of an entire sect of women who choose not to shave at all, is closed-minded. And shame is a weird marketing tool.
In an age when marketers like Dove are seeing great response to ads about accepting one's imperfections, any products that demand women be squeaky clean 24/7 is rowing against the tide. Even cartoony humor can't gloss over that kind of regressive message. As a friend told me on Gchat: "I don't like it. Maybe it's cause my legs are always slightly fuzzy and I don't think that makes me a dude. I also don't like that it implies that only feminine women are sexy. Mostly it's just annoying."
A swing and a miss. Or maybe more like a shave and a nick, am I right? (Sorry.)
Fans of HBO's True Detective (and anyone who's been on the Internet in the last six months) know about Matthew McConaughey's character Rust Cohle sitting at a table smoking cigarettes and drinking Lone Star beer while being questioned by detectives. We also know that according to Cohle's philosophical drawl, "time is flat circle."
Enter actor-comedian Ross Marquand, who has uncannily channeled the spirit of McConaughey in this spoof of AT&T's "It's Not Complicated" ads.
Below, we see the drama unfold in a room full of confused children, proving that in fact, it is very complicated indeed.
Are cereal mascots really drawn looking down, in a subtle attempt at appealing to children through eye contact? Cornell researchers say yes, which General Mills says is "absurd."
In an entertainingly blunt blog post on Friday, General Mills vp of global communications Tom Forsythe eviscerated Cornell's recent study, which found that cereal was placed lower on shelves to target children and also designed to have characters look down at kids.
"Really Cornell?" Forsythe writes. "I mean … we’ve never noticed—and we’re a cereal company."
Here's Cornell's summary of its findings:
In a study of 65 cereals in 10 different grocery stores, Cornell researchers found that cereals marketed to kids are placed half as high on supermarket shelves as adult cereals—the average height for children’s cereal boxes is 23 inches verses 48 inches for adult cereal. A second key finding from the same study is that the average angle of the gaze of cereal spokes-characters on cereal boxes marketed to kids is downward at a 9.6 degree angle whereas spokes-characters on adult cereal look almost straight ahead.
The research was illustrated with this graphic:
Calling the study "pseudoscience," Forsythe refutes the claims that cereals are physically and psychologically aimed at children, but most hilariously, he points out some bizarre choices by the infographic designer.
"Take one more look at the Cornell graphic," Forsythe writes. "Mr. T cereal disappeared, I think, in the early 1980s. That guy on the bottom shelf? It may be C3PO. Now that's cutting-edge research."
Taco Bell's all-out assault on McDonald's breakfast continues in this 30-second spot, "Get With the Times," which posits that eating an Egg McMuffin isn't just uncouth—it's medieval.
While the earlier ads from Deutsch L.A. used real-life Ronald McDonalds as Taco Bell endorsers, this one ridicules the Golden Arches by having the sad-sack protagonist sing a reworked version of "Old McDonald"—to suggest that eating an Egg McMuffin is something you'd do 30 years ago, not today.
Perhaps inadvertently proving Taco Bell's post, the most recent post on McDonald's Facebook page is a Throwback Thursday image of the Egg McMuffin with the caption: "Groovin' since '72. You dig?"
Credits below.
CREDITS Client: Taco Bell Chief Marketing Officer: Chris Brandt Brand Creative Director: Tracee Larocca Director, Advertising: Aron North Manager, Brand Experience: Ashley Prollamante Deutsch Creative Credits and Titles: Agency: Deutsch, Los Angeles Chief Creative Officer: Pete Favat Executive Creative Director: Brett Craig Creative Director: Jason Karley Creative Director: Josh DiMarcantonio Associate Creative Director: Gordy Sang Associate Creative Director: Brian Sieband Senior Art Director: Jeremiah Wassom Senior Copywriter: Trey Tyler Director of Integrated Production: Vic Palumbo Executive Producer: Paul Roy Senior Producer: Jeff Perino Associate Producer: Damon Vinyard Music Supervisor: Dave Rocco
Production Company: Moxie Pictures Director: Frank Todaro Director of Photography: Jon Zilles Executive Producer: Robert Fernandez Line Producer: Matt Oshea
Food Shoot Production Company: Wood Shop Director: Trevor Shepard Executive Producer: Sam Swisher
Editorial Company: Rock Paper Scissors Editor: Adam Pertofsky Assistant Editor: Marjorie Sacks Executive Producer: C.L. Weaver Producer: Shada Shariatzadeh
Post Facility: A52 Colorist: Paul Yacono VFX Supervisor: Andy Barrios Lead Flame Artist: Brendan Crockett Executive Producer: Megan Meloth Producer: Meredith Cherniack
Music: Massive Music
Audio Post Company: Lime Studios Mixer: Mark Meyuhas & Rohan Young Producer: Jessica Locke
Additional Deutsch Credits: Mike Sheldon, CEO Account Management Credits: Group Account Director: Walt Smith Account Director: Amanda Rantuccio Account Supervisor: Krista Slocum Account Executive: Kim Suarez Chief Strategic Officer: Jeffrey Blish Group Planning Director: Jill Burgeson Director of Business Affairs: Abilino Guillermo Senior Business Affairs Manager: Ken Rongey Business Affairs Manager: Georgette Bivins Business Affairs Manager: Nestor Gandia Director of Broadcast Traffic: Carie Bonillo Broadcast Traffic Manager: Sarah Brennan Senior Broadcast Traffic Manager: Gus Mejia
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
