Droga5 and Sprint Snark on Verizon with ‘Twice the Price’ Stunt

UPDATE: This campaign could have been inspired by the real-life “Jessie’s Deli” stunt pulled by agency bros Tommy Noonan and Doug Cameron back in 2015. The world may never know.

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Today in Campaigns We Missed, Droga5 dropped all pretenses and budgets to make this spoof for client Sprint.

It’s all a joke on how Verizon’s unlimited data plan costs twice as much as Sprint’s, and it plays on the dollar store, which is obviously a fixture in New York or any other sizable city.

The spot is worth watching just to see an old white man say “bae.” Is this the new grannies dancing to hip hop?

Here’s the IRL version.

Feeling like we were very close to a “merits of capitalism vs. democratic socialism” debate there at the end. What say you, prolific tweeters with roses in their bios???

Sprint is very much sticking to their “Verizon is more expensive” approach, as one can see in this next broadcast spot.
Kind of interesting how the lowest-ranked wireless company never mentions the quality of their service in marketing efforts…

Sid Lee Tackles Fantasy Football in First Work for Yahoo

Sid Lee launched a new “Feel The Wins” campaign promoting fantasy sports on Yahoo, its first work since winning creative duties on the account this spring.

A lighthearted spots promotes Yahoo Fantasy Football via the series of large and small wins offered by playing fantasy sports, from getting over a breakup via a trade for a tight end to grabbing the right player off the waiver wire to endless gloating about winning your league, as in “Glory Year.”

That particular spot takes a look at Tim. Tim won his fantasy football team back in 2008 and now he will never shut up about it. Ever.

The spots are all voiced by the unmistakable H. Jon Benjamin (Bob’s BurgersArcherHome MoviesDr. Katz) and the top notch voice acting does a lot to elevate the efforts. There’s the apparent disdain for Tim in the aforementioned “Glory Year” and his delivery of the name “Tico Jones-Parker-Jankovich-Jones-Parker III.”

The trio of spots, which run in 30 and 15-second iterations are a fun look at some of the particulars that appeal to fantasy sports players and leave plenty of room to explore further topics in the future (hopefully H. Jon Benjamin makes a return). Each spot concludes by reminding viewers that Yahoo Fantasy Football is the “#1 App in Fantasy” but the ads arguably don’t do much to make the argument for why fantasy players should choose the app over competitors.

Fallon New York Kills Disco for Würkin Stiffs

Fallon New York launched what appears to be its debut campaign for Würkin Stiffs, a collar stay company which appeared on Shark Tank,

“That 70s Collar” implores viewers to “Get The Funk Out of Your Collar” with its Power Stay product.

The spot is built around the idea that collars gone astray make you look like you’re straight out of Saturday Night Fever. And nobody wants that, right?

“That 70s Collar” opens on an employee sitting at his cubicle when a voice out of nowhere asks him why his shirt is so funky, accompanied by a sudden disco beat.

Luckily, a coworker is there to save him from the disco voices, though, by introducing him to Würkin Stiffs’s Power Stay product, which can help him fix his collar, in turn making the voices “die, just like disco.”

The dry humor and 70s mocking make for an appropriate approach to promote what can’t be an easy product to advertise and a smooth transition into the “Get The Funk Out of Your Collar.”

Another spot, “Take The Creepy Out of Your Collar” compares loose collars to another unwanted look. It offers up Power Stays as a way to lose the “Dracula vibes,” which may attract unwanted attention from vampires. That comparison seems like a bit more of a stretch, though.

Credits:ADVERTISER
CREATIVE AGENCY: Fallon New York
CREATIVE DIRECTOR: Charlie Wolff
COPYWRITER: Madeleine Trebenski
ART DIRECTOR: Brittain McNeel
PRODUCER: Jimmy Wade
DIRECTOR OF PRODUCTION: Andrew Koningen
ACCOUNT SUPERVISOR: Marion Roussel
PRESIDENT: John King

PRODUCTION COMPANY: Station Film
PRODUCER: Caroline Gibney
MANAGING DIRECTOR: Stephen Orent
EXECUTIVE PRODUCER: Caroline Gibney
DOP: Kip Bogdhan
DIRECTOR: Scott Corbett

EXECUTIVE PRODUCER: Soraia Callison
COLOURIST: Billy Gabor @ CO3

MUSIC PRODUCTION: Rob Dennler
MIX: Tom Paolantonio
EXECUTIVE PRODUCER: Susie Boyajan

AUDIO POST PRODUCTION: Lime Studios

OFFLINE EXECUTIVE PRODUCER: Melissa Lubin

EDIT COMPANY: Beast
EDITOR: Merritt Duff
EDIT ASSISTANT: Benjamin Algar

POST PRODUCTION / VFX
FLAME: Scott Bravo

CAA Marketing Teams Up with RZA to Soundtrack Your Chipotle Burrito

You’ve probably noticed Chipotle in the news recently for reasons the fast casual chain is presumably not thrilled about. But it’s not all mice and norovirus.

The burrito chain (okay, they sell tacos, too) also recently teamed up with CAA Marketing and RZA to provide a musical equivalent of the burrito eating experience, accompanied by a 360-degree visual experience, entitled “SAVOR.WAVS.”

RZA composed sounds inspired by 51 ingredients for “SAVOR.WAVS,” utilizing various instruments. “SAVOR.WAVS” can create a track from any combination of menu items at Chipotle. Once the track and visuals are “cooked up,” you can then interact with the song by adding your own extras, like Tabasco and chips, which have sounds of their own. After completing the experience, visitors can sign up to receive a buy one, get one offer via text.

“SAVOR.WAVS supports our commitment to using only real ingredients in our food — without any colors, flavors or industrial additives,” explained Chipotle chief marketing and development officer Mark Crumpacker, in a statement. “As a parallel to the way we cook, RZA used only natural instruments, and composed them such that each unique combination works beautifully together.”

“I’ve always believed food, like music, has the power to change our day and even shape our world,” added RZA. “SAVOR.WAVS continues to challenge us in how we think about food, what’s real and what’s responsible.”

Mechanica and Forcepoint Show Us How to Avoid a WPP-Style Cyberattack

Remember last month, when some unknown Bad People maybe-accidentally got WPP all caught up in a massive international cyberattack aimed at the Polish government?!

Great times for all as every PC in the entire global network had to be shut down for several days. (We do hear that certain all-Mac offices mostly avoided the mess.)

Anyway, Massachusetts creative agency Mechanica recently released a campaign for its client Forcepoint—described as “a commercial enterprise security spin-off of defense contract company Raytheon”—that aims to illustrate how that company can help other business avoid such bumps in the road.

In short: always be defending.
A second spot address the one “burning question”: how do you best protect your company from those cybervillains?

The idea, then, is that businesses need to “focus on people as they interact with critical business data and intellectual property.” That may sound like spying on your own employees, but it’s more about the fact that figuring out who has ill intentions is the best way to prevent those people from attacking you. At least that what the client’s research concluded.

For this campaign, Mechanica worked on brand naming and positioning, product renaming and web redesign in addition to the ads, which make their broadcast debut in August.

From CMO Praveen Asthana: “Our 20-year history of defending people, communities and governments informs Forcepoint’s mission to protect the human point, where data is most valuable and vulnerable. We believe that people are your organization’s best defense, and this unique approach therefore requires a human face for security.”

CREDITS

Client: Forcepoint

Agency: Mechanica
Creative Director: Jim Garaventi
Creative Director: Jim Amadeo
Executive Producer: Brian Smith
Brand Director: Ryan Lee

Production: Skunk // Means of Production // Trollback + Company
Director, Skunk: Brent Harris
President, Skunk: Matt Factor
COO, Executive Producer, Skunk: Shelly Townsend
Executive Producer, Head of Production, Skunk: Jeanne Stawiarski
Producer, Skunk: Ed Callaghan
Director of Photography, Skunk: Jason McCormick
Photographer: Gunther Campine

Editing: Cut & Run
Editor, Cut & Run: Akiko Iwakawa
Color: Company 3
Colorist, Company 3: Tom Poole
Graphics: Trollback + Company
Creative Director, Trollback: Brian Bowman
Music: South
Sound Design: Heard City
Sound Designer: Cory Melious

Grey’s First Work for Applebee’s Promotes Its ‘Topped and Loaded’ Menu

Back in March, Applebee’s named Grey as its creative agency of record, following a review launched in December which initially included six agencies and eventually came down to finalists Grey, BBDO San Francsico and Argonaut San Francisco. The same month, parent company DineEquity named John Cywinski as Applebee’s new president. Prior to the review, the account was handled by Kansas City-based agency, after Applebee’s ended its relationship with CP+B in November of 2015.

Last week, Grey launched what amounts to its first work for the client with a series of ads promoting the casual dining chain’s new “Topped and Loaded” menu.

An agency spokesperson confirmed that Grey had worked on the ads, explaining that the client requested the agency deliver a promotion for the new “Topped and Loaded” menu and the agency obliged. They added that Grey’ first full brand campaign for Applebee’s is expected this fall.

Given what was undoubtedly a quick turnaround timeframe, it’s perhaps to be expected that the resulting creative has some issues.

The campaign amounts to three variations riffing off the same basic ad. A man and a woman are sitting at Applebee’s when she asks what’s up with the new “Topped and Loaded” menu. That seems a fair question, given it is a recent introduction. However, the man seems at once perplexed and oddly disdainful, responding that it’s “an American favorite on top of an American favorite, Alice.”

That description then gets a series of varying comparisons in the different ads. In the above “Presidents,” he claims, “It’s like Abraham Lincoln on top of George Washington” (We’re not going to comment on that one…), while other versions imagine double “Holidays” or a rollercoaster rodeo.

It’s hard to tell what, if anything, the spots say about what Grey’s approach will be on its first full brand campaign this fall.

DineEquity is devoting a significant media investment to promoting AppleBee’s new offerings. It spent $3.1 million on national broadcast placement for the spots last week, the entirety of its national broadcast placement budget for the week. That was good enough for fourth on the list of last week’s list of top spenders on national broadcast placement for new creative. The campaign also includes regional TV buys, online video, internet and mobile display ads.

The DineEquity casual dining chain has gone through a rough period lately. In February, a month before Grey was brought on as creative agency of record, longtime DineEquity CEO Julia Stewart left the company amidst declining sales for Applebee’s.

Sometimes Smirnoff, Ted Danson and 72andSunny Want to Go Where Nobody Knows Your Name

Making your way in the world today takes everything you’ve got. Taking a break from all your worries sure would help a lot.

OK, but that’s kind of hard if you’re acclaimed actor, philanthropist and silver fox Ted Danson.

After winning lots of headlines for thoroughly trolling our current president and his “alleged” ties to Russia, Smirnoff is back to letting celebrity spokespeople handle the heavy lifting. In the newest campaign from 72andSunny New York, Sam Malone reminds us that he is really just a Regular Joe with a primetime sitcom on NBC. It happens to the least of us!

Oh also, for the last time, Smirnoff is not Russian. And it’s kinda cheap.
No top shelf for this 15-time Emmy nominee who hands out diamonds as tips.

The rest of the series plays on this theme, with Ted trying soooo hard to convince us he’s a man of the people who won some awards just like his favorite liquor.

Here he is again with that trademark humility.

Danson is vegan, and we imagine he’s more of a vintage California vineyard kind of guy than one who drinks Smirnoff martinis. (Or maybe he just smokes lots of weed.) But this is advertising and we trust it.

These latest spots in the “Only the Best for Everyone” campaign (which were directed by Mike Warzin of Arts & Sciences) didn’t feature Chrissy Teigen destroying any burritos, which is a good thing.

Now let’s talk about Danson’s hair, or famous lack thereof.

W+K London, Time Based Arts Celebrate ‘Dream Makers’ for Honda

W+K London worked with production company Time Based Arts to craft an animated celebration of “Dream Makers” for Honda U.K. which marks the directorial debut of James Allen and Mike Skrgatic.

The spot features four characters, who each drive a different model of Honda in their respective stories. Each of them races toward the conclusion of a plot that is already in progress. Interestingly, various stages of the process behind the creation of each segment is shown in detail, while the action unfolds.

The process, as it turns out, is at least as important as the individual stories themselves. It’s at the heart of the message celebrating the “Dream Makers” behind bringing such ideas to life, from script to finished product, implicitly likening them to the minds behind the Honda vehicles shown.

“The best Honda ads often overcome some kind of challenge in the craft and the storytelling that reflects the ingenuity of the brand. There’s crazy technology involved in making a film or a Honda nowadays, but it’s ultimately the warmth of the human touch that makes them achieve excellence,” W+K London creative directors Carlos Alija and Laura Sampedro explained in a statement published by LBB.

Shorter spots, presumably individual scenes from the full version, will run on films shown on Channel 4, More4, Film4 and E4 for a full year, with a longer version living on as cinema ad and online.

The campaign follows a similarly high concept campaign from a competitor here in the U.S. last month. Saatchi & Saatchi L.A. launched a series of short films for Toyota which each played with the concept of time.

Credits:

Creative Agency: Wieden+Kennedy London
Creative Directors: Carlos Alija, Laura Sampedro
Creatives: Carlos Alija, Laura Sampedro, Juan Sevilla, Mico Toledo
Executive Creative Directors: Tony Davidson, Iain Tait, Kim Papworth
Producer: Michelle Brough
Executive Producer: James Guy
Account Manager: Olivia Amato-Pace
Account Director: James McHoull
Group Account Director: Nick Owen

Production Company: Time Based Arts
Directors: James Allen, Mike Skrgatic
DOP: Daniel Landin
Producer: Bonnie Anthony

Post-Production Company: Time Based Arts
3D: Chris Wood, Dan Davie, Tom Robinson, Stephen Ross
Executive Producer: Tom Johnson
Colourist: Simone Gratarolla
Concept Artists: Sylvie Minois, James Husbands, Yibi Hu, Nigel Raynor, Ben Oliver
3D Artists: Federico Guzzardo, James Mann, Oscar Gonzalez Diez, Dave LohMike Battcock, Sam Osbourne, Federico Vanone, Nigel Timms, Jeroen Hooghoudt, Tom Hall, Jess Gorick
Nuke Artist: Ralph Briscoe, Aitor Arroyo, Linda Cieniawska
Nuke: Matt Shires, Bernie Varela (Lead)
Flame Artists: Jamie Crofts, Adam Paterson
Flame: Luke Todd, Matt Jackson, Thiago Dantas (Lead)
VFX Supervisor: Sheldon Gardner, Stephen Grasso

MARC USA Launches Effort to ‘Retire 21’ for Roberto Clemente Museum

While individual teams routinely retire the numbers of former star players and managers, Major League Baseball has only ever retired one number throughout the league.

On April 15, 1997, the 50th anniversary of Jackie Robinson breaking the major league color barrier, commissioner Bud Selig announced that Robinson’s number 42 would be retired throughout baseball, with exceptions made for players then wearing the number, such as Yankees’ closer Mariano Rivera, who became the last player to regularly wear the number. Since the 2007 season, all players have worn the number on April 15 in honor of Jackie Robinson Day.

MARC USA and The Roberto Clemente Museum in Pittsburgh would like to make an addition for Pirates Hall of Famer Roberto Clemente. Efforts to permanently retire Clemente’s number date back several years and Maria Teresa Ruiz even sponsored a New Jersey State Senate Resolution that “Respectfully requests that Major League Baseball retire the number 21 in honor of the life and career of Roberto Clemente” in 2012.

Clemente was renowned not just for his performance on the field as a right fielder for the Pittsburgh Pirates (he was a 12-time All Star, 12-time Gold Glove winner, four-time NL batting champion, 1966 MVP and helped lead the Pirates to two World Series Championship) but for his off-field humanitarian efforts as well. He died in a plane crash on December 31, 1972, at the age of 38, while delivering aid to earthquake victims in Nicaragua.

Now MARC USA has launched a campaign to draw attention to The Roberto Clemente Museum’s renewed attempt to get Major League Baseball to retire Clemente’s number under its new commissioner, Rob Manfred.
The “Retire 21” Change.org petition already has 2,796 signatures towards its goal of 5,000. On Tuesday, MARC USA and The Roberto Clemente Museum took the effort to the All Star Game at Marlins Park in Miami. Volunteers outside the stadium carried iPads making it easier for fans to sign the petition. The “Retire 21” campaign will continue the effort throughout July and August, visiting other MLB ballparks.

“Now is the right time to make 21 only the second number retired across the Major Leagues. In the 45 years since Roberto’s death, many younger fans no longer know his story – one that demonstrates the best of Major League Baseball and sets a shining example for all,” Roberto Clemente Museum executive director and curator Duane Rieder. “It’s time to appropriately honor Roberto Clemente’s legacy and inspire others on and off the field to emulate his character and courage.”

“We’re inviting active and retired players, the media and everyone who loves baseball to join the campaign, sign the online petition and spread the word through social media and word of mouth,” added MARC USA group creative director Greg Edwards, who helped lead the campaign. “We hope to have at least 100,000 signatures by Roberto’s birthday on August 18, and we’ll continue adding signatures and spreading the message until MLB Commissioner Rob Manfred gives us a hearing.”

Carey Hart Gets Heavy Tats from His Own Bike in New Team One Spot

So … do you have any tattoos? Of course you do.

But did those SICK tats come from the wheels of your own kickass motorcycle, bro??

The latest campaign from Saatchi & Saatchi’s “premium and luxury brand agency” Team One somehow combines ink, bikes and a father’s love for his son. So all the bases are covered, really.

In the words of the President of the United States, “My son is a high quality person.”

This is part of a campaign to promote Indian Motorcycle, which claims to be America’s first such company. As you can see from the video above, the carbon for the ink in these tattoos was created from the “burnout” rubber of a bike tire.

That ink will be used for a limited time exclusively at Vescovi’s Vatican Studios in Lake Forest, CA and at four Hart & Huntington Tattoo shops in Las Vegas, Orlando, Niagara Falls and Nashville. And then it will be gone forever. Sad!

The campaign will also include “an advertorial spread” in the July/August issue of Inked Magazine.

Full disclosure: we have never heard of this guy. But then we are quite clearly nowhere near the target audience for this campaign…

 

CREDITS

Director/DP: Leo Zuckerman
Producer: Andrea Sheffield
Assistant Camera: Kenneth Merrill
Gaffer/Grip: Levi Williams
Production Assistant: Lisa French
Sound Recordist: Kevin Santiago

Agency: Team One
Group Creative Director: Craig Crawford
Creative Director: Johnnie Ingram
Associate Creative Director: Geoff Vreeken
Photographer: Matt Hartz
Producer: Leah Bohl
Associate Producer: Claire Allman
Account Director: Landon Nguyen
Account Supervisor: Justin West

Editor: Leo Zuckerman
Colourist: Clinton Homuth // Alter Ego
Sound Design/Mix: Matt Kielkopf

Klick Health Depicts Stomach Pain as ‘The Wrestler’ for Novartis

Klick Health launched a new spot for pharmaceutical company Novartis, one of last week’s top spenders on broadcast placement for new creative, which finds a somewhat bizarre personification for gastrointestinal issues.

That said, the anthropomorphized take on stomach issues might not be seen as so inaccurate by chronic sufferers. Klick Health imagines the pangs of stomach discomfort as a tiny, but overly annoying professional wrester, straight out of 1987 or so. The spot opens on a man reading in bed, when “The Wrestler,” appears, announcing, “It’s terror on the tummy time!”

From there, he just keeps showing up, in the break room and at a backyard barbecue. Apparently he brings along, “persistent diarrhea, stomach pain and bloating” for good measure.

TheWrestler_30 from Klick New York on Vimeo.

The spot concludes without informing viewers of what, exactly, they’re watching an ad for.   Instead, it directs them to WhatAmIWrestlingWith.com to “learn more” about a “diagnosis that may not have been considered.” There, they can take a short quiz to see if they may have carcinoid syndrome. Self-diagnosis via Internet is, of course, notoriously unreliable and even the site mentions that “Most people who seem to have symptoms similar to those of carcinoid syndrome do not have the disease,” making the whole exercise (and the reasoning behind the accompanying ad) feel a tad dubious.

The integrated campaign also includes a series of live-action banner videos, and the broadcast element includes addressable TV.

Credits:
CLIENT: NOVARTIS PHARMACEUTICALS CORP.
Executive Director: Vanessa Thirion-Cullity
Director: Jessica Hayes

AGENCY: KLICK HEALTH
Chief Creative Officer, New York: Elliot Langerman
Art: Anthony DiCarolis, Mark Schruntek, Lee Seidenberg, Sam Quiles
Copy: Mark Schruntek, Lee Seidenberg, Anthony DiCarolis
Senior Producer: Brian Schierman
VP, Brand Strategy: Alexis Penty
Group Account Director: Eric Presman
Sr. Project Manager: Klayton Kyle
Senior Strategist: Rachel Affoo
SVP, Strategy & Analytics: Cam Bedford
VP Group Account Director: Joan Bercovitz
VP, Program Director: Leslie Doyle

PRODUCTION: SEED MEDIA ARTS
Director: Tim Abshire
Exec. Producer: Roy Skillikorn
EP/Line Producer: Kipp Christiansen
DP: Joe Zizzo
Shot on Location in Thousand Oaks, CA and on stage in Culver City, CA

EDITORIAL: CUTTING ROOM, NY
Editor: Chuck Willis
Assistant Editor: Greg Ryan
Executive Producer: Anna Petitti

VISUAL EFFECTS: SMOKE & MIRRORS, NY
Executive Producer: Steve Intrabartola
Senior Producer: Tara Maloney
Head of Flame: Dino Tsaousis
Flame Artist: Kevin Quinlan
Flame Artist: Jenna DeAngelis

AUDIO POST: SONIC UNION, NY
Audio Post Mixer: Paul Weiss
Producers: Justine Cortale + Pat Sullivan

MUSIC:
Extreme Music stock library

TELECINE: NICE SHOES, NY
Colorist: Sal Maltifano
Producer: Matt Hubert

Partners in Crime Pokes Fun at Ted Talks in GolfBook’s Debut Campaign

Partners in Crime, the flex business model agency launched in San Francisco last year by DDB, Mullen and West creative vet Stephen Goldblatt, has been busy.

Its latest work is the debut campaign for GolfBook, the only digital platform you need to manage your time on the course. In order to explain what this sort-of-new product does, PIC lampoons some deliciously low-hanging fruit: Ted Talks. In this case, the title character is Fred, a guy who might remind you a lot of someone’s dad or boss.

“Fred is a guy who loves golf over everything else,” said Goldblatt. “He has a knack for explaining anything golf-related in a simple and humorous way.”

So he does!

The campaign is all about Fred, his passion for golf, and his tendency to reduce everything to a comparison between straight talk and however The Kids are communicating these days.

“As long as golf continues to grow with innovative technology, there will be Fred,” Goldblatt added, noting that Partners In Crime will further develop the character through social media and IRL appearances.

We don’t personally know much about mortgages or kids, but gluten is indeed hard.

Fred keeps going in a way that is not too different from some of the lower quality Ted Talks. And he does succeed in explaining how to use a product that’s completely new to us.

Regarding the agency/client relationship, GolfBook president and CEO Gene Pizzolato (who has worked with Goldblatt in the past) said, “With Partners in Crime, we were able to get real bang for our buck in addition to great creative. The platform they created is unique for the market and will allow us to show up in endless ways, from app communication to marketing activities and events.”

Goldblatt explains the model as such: “By keeping overhead low and aligning with strategic and production partners, Partners in Crime is able to deliver world class creative without requiring traditional staffing models, production budgets or extensive timelines.”

So they probably won’t be pitching for Miller Lite anytime soon, but they get the work done.

CREDITS

Client: GolfBook
President, CEO: Gene Pizzolato
Director of Marketing: Joe DiFiore

Agency: Partners in Crime
Creative Director / Founder: Stephen Goldblatt
Art Director: Stephen Goldblatt
Writer: Brian Perkins
Agency Producer: Greg Speck
Production Company: Where The Buffalo Roam
Executive Producer: PJ Koll
Line Producer / Executive Producer: Chris Whitney
Production Coordinator: Phil Tang
Post Producer: Taraneh Golozar
Director: Brian Perkins
Director of Photography: Brett Simms
2nd Camera DP: Will Nail
Animator: Ryan Luse
Animator: Jess Gibson
Editor: Marco Svizzero

Post Production: MFDsf
Colorist: Ayumi Ashley
Producer: Nick Castillo
Sound Engineer: Joel Rabe

Hodor Faces Hungry Horde in BBH London’s New Spot for KFC

BBH London launched a new spot for KFC U.K. and Ireland starring Kristian Nairn, who plays the character Hodor on HBO’s Game of Thrones, ahead of the series’ upcoming season 7 premiere on July 16.

The spot depicts Nairn as a KFC employee faced with an unrelenting throng of customers hungry for chicken and fries. (Wait, don’t they call them “chips” over there?) All poor Nairn can do is repeat “chicken and fries” over and over again, a nod to his Game of Thrones character, who can only say his own name.

Near its conclusion, the spot reveals itself as a promotion for the chain’s new KFC Ricebox offering, replacing the fries in “chicken and fries” with a healthier rice option. The spot takes a simple yet entertaining approach and Game of Thrones fans hungry for the premier have taken to the likable Nairn’s performance. Creativity reports the spot has racked up over 32 million views since its debut last week.

Credits:
Client: KFC
Marketing Director: Monica Pool
Marketing Manager: Marion Racine

Agency: BBH London
Creative Director: Hamish Pinnell
Creative Team: Alex King, Andrew Jordan
Strategy Director: Fernando Ribeiro
Strategist: Jill Cummings, Jack Colchester
Account Director: Jamie Bolton
Account Manager: Jack Howard
Business Lead: Beck Russell

Production Company: Mindseye
Director: Ben Taylor
Producer: Jonny Knight, Jack Howard
Executive Producer: Charlie Phillips
Post Production: The Mill

Edition House: Marshall Street Editors
Editor: Phill Hignett

Sound Company: 750MPH
Sound: Sam Robinson

How SRG is Helping the Brewers Association Take on Big Beer

Last week, the Brewers Association (BA) launched an “Independently Crafted” label to designate independent craft breweries from those which have been purchased by the likes of A-B InBev and Heineken and “crafty” brands brewed by macro breweries. Sterling-Rice Group (SRG) worked with the Brewers Association on the project, following a successful pitch last June, but the agency has been working with the Brewers Association since 2014.

“With Big Beer acquiring small breweries, it has become increasingly difficult for beer drinkers to know and remember which brands are truly independent. Yet, we know that independence is important to them and they want transparency as it pertains to ownership,” added Brewers Association president and CEO Bob Pease. “Beer drinkers vote with their dollars and want to support businesses that align with their values,” he added. “They have indicated that ownership can drive their purchase intent. We are providing information that will help them select the brands that they already have indicated they want to support.”

“We’re thrilled about this opportunity,”  added SRG executive creative director Adam Wohl. “The Brewers Association is a very collaborative client who represent an unbelievably passionate group of beer-loving entrepreneurs. Individually and collectively, they are David fighting Goliath. And SRG has been given the chance to write the playbook to take on the giant. That challenge, and the creative ways we can disrupt the conversation, is what we live for.”

Over 1,000 breweries have adopted the label since its introduction last week.

“We had more than ten percent of eligible craft breweries adopt just in the first 24 hours,” Wohl noted. “The brewery members of the Brewers Association’s board of directors who helped to spearhead this initiative were among the first to commit. We’re excited to have more and more.”

He added that they’re seeing more breweries commit to the label every day and the Brewers Association is keeping a live tally on its website.

To qualify for the “Independently Crafted” label, a brewery must have less than 25 percent “owned or controlled (or equivalent economic interest) by an alcohol industry member that is not itself a craft brewer,” per the Brewers Association’s definition of an independent craft brewery.

“The 25 percent ownership mark has been in place for a decade, and has not changed. One strength of the BA craft brewer definition is that it’s a bright line that can be clearly seen by brewers,” Pease explained.

Early adopter Dogfish Head (the 14th largest craft brewery in the country), for example, which sold a 15 percent stake to New York-based private equity firm LNK Partners in 2015, qualifies as “Independently Crafted.” Grand Rapids, Michigan’s Founders Brewing, which sold a 30 percent stake to Spanish brewing company Mahou San Miguel in December of 2014, does not.

“Small and independent owners often risk their own financial well-being when they take on the challenge of opening a brewery. With any business, it’s not uncommon to seek outside capital. But I think there’s a big difference between gaining access to capital and partnering up with a global brewery, specifically in the areas of raw material and distribution,” Pease said. “When you partner with someone for 30 percent, you don’t have the same challenges, and certainly have better access to raw materials.”

AB InBev was quick to respond to the release of the “Independently Crafted” label, releasing a video providing “Six Viewpoints From The High End,” formerly independent brewers who are now part of AB InBev responding to the new label last Friday. David Buhler, co-founder of Elysian Brewing, asks, “Does this label designate something like quality?” — a familiar argument for those who defend big beer buyouts. 

Walt Dickinson, co-founder of North Carolina’s Wicked Weed, which AB InBev purchased earlier this year, adds, “At the end of the day, we’re all making beer,” and “fighting a bigger battle” against wine and spirits, to which beer is “losing market share every year.”

“At the end of the day, the beer does the talking, not the label on the package, and the consumer makes up their own mind. The problem is that the BA continues to refuse to let the consumer make up their own mind and tries to make it up for them,” 10 Barrel Brewing’s Garret Wales claims.

Asked about the response from AB InBev and other detractors, Wohl said, “Our job is to focus on what we need to do to get our client’s message out in a clear and memorable way. Attention from Big Beer draws attention to our cause. Since we have an exponentially smaller advertising and PR budget, free exposure is always appreciated.”

Preacher, Crate and Barrel ‘Welcome Love In’

Preacher took over for TBWA/Chiat/Day Los Angeles, as agency of record for Crate and Barrel last year, debuting its first work for the brand with a 60-second holiday spot entitled “Front Door” last November.

In its latest effort for Crate and Barrel, entitled “Welcome Love In,” the Austin-based agency tells the stories of “real couples and their gifts from the Crate and Barrel wedding registry.” It is wedding season, after all.

“Welcome Love In” features a refreshingly diverse array of couples, whose marriages span three months to forty years. What they all have is common is that they got an upgrade by registering with Crate and Barrel.

Inevitably the conversation turns back to the brand and how one couple received their first “grownup cutting board” and another dishware for 12 because they hope to host a crowd of a dozen someday, but the spot doesn’t rush to include references to Crate and Barrel products, allowing the couples to tell their stories first.

The spot promotes Crate and Barrel’s wedding registry at the height of wedding season and will run across the brand’s social channels, “its registry microsite and across major bridal sites like brides.com,” according to Campaign.

Credits:
Agency: Preacher
Art Director: Brunno Cortez
Copywriter: Justin Han
Chief Creative Officer: Rob Baird
Chief Executive Officer: Krystle Loyland
Chief Strategy Officer: Seth Gaffney Agency
Producer: Jill Silberstein
Senior Brand Manager: Stephanie Smith
Business Affairs: Miiko Martin
ACD: Kim Nguyen

Production Company: The Bear Executive
Producer: Berndt Mader
Director: Ben Steinbauer
Line Producer: Janice Woods
DP: David McMurry
Casting: O’Connor
Casting Edit House: Lucky Post
Executive Producer: Jessica Berry
Producer: Caroline Stephens
Editor: Elizabeth Moore
Mix: Pony Sound
Colorist: Neil Anderson

Forsman & Bodenfors Teams Up With Pulitzer Prize-Winning Photographer Barbara Davidson for Volvo

Pullitzer Prize winning photographer Barbara Davidson turned to an unorthodox camera for her new photo exhibition: a Volvo.

Forsman & Bodenfors new work for the brand features a photo exhibition by Davidson shot entirely with the Volvo XC60’s City Safety system. Davidson used the City Safety camera located on the car’s front windshield to capture moments of life as viewed from the Volvo and the resulting exhibit, which she also curated, opened at London’s Canvas Studios on July 4. Forsman & Bodenfors also put together this “Moments Feat. Barbara Davidson” spot documenting the process. Davidson explains at the opening of the spot that she in a car accident as a young girl and was told that she survived “because the car was a Volvo.”

It’s an extension of the “Moments” campaign which the agency launched for Volvo last month with a spot directed by Gustav Johansson.

“I would say, ‘Turn right, slow down, move a little to the left,’” Davidson explained to The New York Times. “I was essentially framing my images in the screen that they had created for me in the car so I could see how they would look. Later, I edited pulling screen grabs off that video.”

Amateur photographers shouldn’t expect to be able to replicate the experiment, however. As The New York Times points out, Davidson’s car was “hacked by Volvo’s computer experts to allow her to see the camera’s video output in real time and compose images as a precision driver shepherded her through Copenhagen earlier this year.”

“I think the car camera has incredible artistic potential,” Davidson told the publication, “and conceptual artists in particular are going to want to explore it. The fun part for me was that I was able to turn off my photojournalist mode.”

See some of Davidson’s photographs here.

BBH London Celebrates ‘Equal Love’ for Absolut

Absolut Vodka appointed BBH London as its lead global creative agency last October, following a review. Sid Lee had formerly handled the account for some four years.

This week, BBH London launched a “Create a better tomorrow, tonight” global campaign for the brand with the spot “Equal Love.”

Directed by Somesuch’s Aoife McArdle, “Equal Love” opens in a bar as a couple exchange a passionate kiss. An onlooker approaches from nearby and soon the kiss is passed on from one person to the next, spanning a diverse array of ages, races and genders, all set to The Crystals‘ 1962 hit, “There’s No Other (Like My Baby).”

The online spot concludes with the line “In support of equal love since 1879,” celebrating the brand’s history of progressive values, followed by the new tagline. “Equal Love” launches a global campaign which aims to underscore the brand’s identity.

“We wanted to bring to life one of our core values and beliefs, which is that everyone should be free to love who they choose,” Absolut global communications director Gaia Gilardini told Campaign. “It uses a kiss as a metaphor for this expression of acceptance. But it’s a broader idea of acceptance – it’s not just tied to sexuality. Freedom to love who you choose goes further than just sexual preference.”

The spot also coincides with the Pride in London celebrations which run from June 24 through July 9. As part of the effort, Absolut is also an OOH installation on an escalator which is on the route of this Saturday’s London Pride parade.

Absolut isn’t the only vodka brand launching an effort around Pride in Lonon. Rival Smirnoff is actually a sponsor and also launched a series of “Love Wins” bottles back in May.

“Having more brands joining this conversation is definitely good, because it allows people to discuss this topic,” Gilardini told Campaign, adding, “Through our marketing campaigns, we’ve always supported diversity – the right for people to express their true selves. We’ve done this through the artistic collaborations we’ve done.”

Absolut’s track record seems to lend support to the statement. As Campaign notes, the brand began running ads in U.S. gay publications The Advocate and After Dark in 1981, just two years after expanding globally, at a time when most brands avoided such media completely.

The brand plans to reveal the next initiatives in the campaign in the coming weeks and will partner with U.K. LGBT+ charity organization Stonewall later this year to celebrate the 50th anniversary  of the Sexual Offences Act 1967.

 

Taco Bueno Selects TM Advertising as its Creative Agency of Record

Regional Tex-Mex chain Taco Bueno appointed TM Advertising, which bought itself back from IPG in May, as its creative agency of record, following a review.

The Dallas-based agency will be tasked with handling broadcast and digital creative, brand strategy, consumer engagement, integrated media planning, packaging and in-store experience for the brand.

TM Advertising’s appointment follows the arrival of Sarah Beddoe as Taco Bueno’s new chief marketing officer in February, as well as the chain’s recent endorsement deal with newly-drafted Dallas Cowboys defensive end Taco Charlton.

“After a very competitive search, TM emerged as the right integrated partner for Taco Bueno,
Beddoe said in a statement. “Together, we will build on the passionate brand affinity for Taco Bueno and create even more brand advocacy with a breakthrough creative campaign.”

“Taco Bueno has an incredibly unique story to tell filled with history and the fiercest of loyal ‘buenoheads,’” added TM Advertising CEO Becca Weigman. “We are thrilled to be working for such an incredible brand and client. They are smart, relentlessly hardworking and fun. We connected immediately. Like us, they are passionate, have a unique approach and are perfectly positioned for growth.”

TM Advertising first work for Taco Bueno is expected sometime this fall. Taco Bueno has 175 locations in Texas, Colorado,  Missouri, Kansas, Arkansas, Louisiana and Oklahoma and generates an annual revenue of around $187 million. Last year it was named best Mexican chain in by Market Force Information’s quick service restaurant study.

Cheil, Adidas “#FanTheFire” for Athletes in India

India’s dominance in the British sport of cricket is well known.

But athletes in India kick ass in all sorts of other sports as well, including many that have yet to become mainstream in the country. Adidas turned to Cheil to help address this and inspire the next generation of athletes in India to pursue athletic endeavors in a variety of sports.

The anthem ad opening the campaign hinges around voiceover in the form of a letter from a mother to a son half a world away. “My day has just ended…but yours has just begun” she writes, going on to implore him to “go and sweat before the sun can see” and reassuring him, “you have it in you, the spark that could ignite a thousand dreams.”

It’s a familiar carpe diem message for athletes, but having it delivered from a mother to her son as he pursues his athletic dreams far from home adds considerable emotional weight. The athlete in question, by the way, is 18-year-old figure skater Nischay Luthra, already a 9-time national gold medalist. (The narrator is his mother.)

Luthra is currently training to represent India at the 2018 Winter Olympic Games. As his mother puts it, “this dream is not yours alone, but ours.”

The spot concludes by asking viewers to show him that his mom isn’t his only fan and to spread Luthra’s story and “#FanTheFire.”

“At adidas we truly believe that through sport, we have the power to change lives. With #FanTheFire, we seek to shine a spotlight on athletes and sports which are not mainstream, and in turn, inspire the next generation to take up such sports,” Adidas India senior marketing director Sean van Wyk explained.” We are committed to providing the fuel for Nishchay Luthra and many more like him.”

“In India, cricket enjoys a disproportionately high amount of attention and the rest of the sports are simply out of sight, out of mind. This was gnawing away at us, as we discovered a series of stories about Indian athletes living in obscurity and even penury,” added Cheil Worldwide India group creative director Vijay Simha. “#FanTheFire was born out of our instinctive urge to help the underdog. adidas has always been about the athlete, no matter what sport. So they saw the honesty of purpose, and agreed to leverage the social media power of their assets to lift Nishchay out of relative obscurity. I feel Nishchay’s story is just a spark, that will soon be a fire, fanned by every Indian who cares!”
Credits:
Brand: adidas India
Creative Agency: Cheil Worldwide SW Asia
Creative Team: Sagar Mahabaleshwarkar, Vijay Simha Vellanki & Vinod Sivan Nishith Sidana
Digital Team: Sanjeev Jasani, Dibyendu Mishra, Arif Khan, Karan Lugani
Production: Gobsmack Entertainment
Director: Shivaji Sen
Producers: Mohit Rastogi & Shyam Madiraju

Apple’s Latest ‘Shot on iPhone’ Spot Shows Us Why Canada Is Way More Optimistic Than the U.S.

Apple is back with another one of its “shot on iPhone” ads just in time for the device’s 10th anniversary and a whole bunch of fanboy takes about how This One Product Has Totally Changed the World.

This time, however, the theme is a bit more specific than usual. It’s about Canada, and how that country is suddenly an island of inclusiveness in an increasingly hostile world!

This is particularly topical given that the U.S. has witnessed a sharp decline in international opinion over the past six-plus months for some completely unknown reason. Who needs to collaborate with Germany anyway?

“My vision as a professional photographer, and as a Canadian, was to personally seek out and explore the stories of this vast country through the unique lens of iPhone,” said Caitlin Cronenberg, who played a dual role here as both the picture-taker and the daughter of David Cronenberg. “We saw the people, we met the people, we shot the people and places.”

Humble the Poet, who narrated the whole thing, added, “Canada now represents an unparalleled freedom. We’re not simply tolerant, we celebrate and live diversity on our own terms.”

The ad was created by Media Arts Lab in coordination with Apple’s in-house team and the music was by A Tribe Called Red, which mixes contemporary styles with those of indigenous Canadians.

In conclusion, Eastern Promises was a great movie and a cool glimpse into our future membership in the Russian mob.