Diet Coke’s Taylor Swift Can Is Sleek and Skinny, and You Could Be Too

Hi, tween girls who may have body-image issues and also like listening to Taylor Swift. Diet Coke is launching a new, limited-edition "Sleek Can." It's thinner and more glamorous than those plain old cans, and naturally, it's covered all over in Taylor Swift's autograph. It also features a quote, in script, which reads, "If you're lucky enough to be different, don't ever change." Except it's Diet Coke, so the whole point is kind of to change, to drink Diet Coke and become slim and shiny, like Swift. Way more so than if you drank from Diet Pepsi's "Skinny Can" from Fashion Week a couple of years back. Sure, this isn't the first time Diet Coke has sold a "Sleek Can," but this one is way better and more totally duplicitous. Plus, it goes perfectly with the brand's slim vending machines.


    

Happiness Through the Mail: The Indescribable Allure of Quarterly Co.’s Celebrity Gift Boxes

From co-founding Netflix to his new role as CEO of Quarterly Co., Mitch Lowe has made it his business to bring the magic back to the mailbox. Quarterly Co., for the uninitiated, is a subscription service that sends you curated packages from influential contributors. It's like receiving a personal gift from your celebrity bestie. Lowe sat down with AdFreak to talk about Quarterly's latest celebrity addition—Bill Nye, the science guy—and why you won't be able to subscribe to your favorite brand anytime soon.

AdFreak: Tell me about adding Bill Nye as a contributor.
Mitch Lowe: He's someone that so many people have grown up with. He's the kind of guy who's always imaginative, and we really loved his idea of trying to make the world a better place by science. So we were attracted to his passion and vision. He's just so creative, and in like five minutes of conversation he came up with so many interesting ideas. Some people have sort of gotten to a point in their careers where it's just sort of a job, but he's still so passionate, and he's been doing it for so long.

How do you curate your curators? Do you choose the contributors, or do the contributors choose you?
We choose them. The flavor we're looking for are people with large followings who are passionate to the point that people really want to know more about them. Huge, huge celebrities are probably too well known. People already know too much about them. But there's a level where people are just really knowledgeable about their key area so much that people want to be inspired by them. So the first criteria we look for is people with large Twitter and Facebook followings. And then we look for the category they're in and the length of relationship. Just recently we hired a person who is responsible for seeking out our kind of contributor.

Bill's packages will contain a collection of tools to change the world and raise awareness of environmental issues. Changing the world was the mission of his TV show, and he did. How do you think he'll change the world with his Quarterly packages?
I think what he'll do is change the perspective and understanding of the people who receive the boxes because he'll be giving you that tactile understanding of the science that people are talking about. From global warming to all the big environmental issues, you'll get a tactile meditation into the issues. Instead of reading an article about how global warming is affecting us, you're going to be able to understand that firsthand.

You've changed the world yourself a few times with Netflix and Redbox. Will we be able to subscribe to you soon?
I am passionate about business and about young people starting in business, but I'm just more of an execution guy than an ideas person. I'm very rarely the originator of ideas like Bill Nye.

C'mon, you're telling me you never thought about what your theme would be?
(Laughs) Probably exercise and hiking. I love the whole meditation of hiking.

Of course, contributors don't go it alone. Tell me a little about the assistants that Quarterly assigns to each contributor. What's their role?
What we believe is that the contributor should play the major role with the ideation and the creativity behind each delivery, but they really aren't a buyer or manufacturer. So we assign them a contributor talent manager to take care of all that. We find one who has a passion for that particular genre. The contributor says they have this idea and this is what they want to do next quarter, and the manager goes out and finds the items and gives the contributor options for how they could make the idea work.

Do you run into a lot of limitations for what can be selected for a box, and how do you deal with interstate commerce inconsistencies? For example, if Bill Nye wants to add a favorite wine to the box, Florida subscribers are out of luck.
I wouldn't say we're experts on this, but over time we're learning about the things that are not shippable as well as items that don't tend to go well. Like barbecue sauce doesn't go well in a glass bottle. So our CTM will say, great idea, but in the past we've had three out of 10 of those things break in shipping. And of course we don't ship alcohol, we don't ship flammable things. For Tim Ferriss's first package, he had a supplement that we discovered last minute we couldn't ship to Australia, so we had to come up with a replacement.

What's the worst shipping experience you've had so far?
There's this product. It's a foam—an aerosol can that sprays foam marshmallows. We were told that like five out of 100 exploded inside the shipping containers, spraying marshmallow everywhere. But the funny thing was, most of the people who received the packages that exploded ended up saying it was a great way to try it, because they had to clean up the product with their fingers as they went through the box.

Exploding marshmallows aside, what's the psychological effect of receiving a personalized surprise package, even one you paid for?
I think it takes people back to their childhood. When they receive a gift, it has some type of visceral positive feeling. I'm getting a gift. A present. Someone is actually sending me something. I can't explain it, but I've seen it before when I was with Netflix. We would stand outside and watch people open up their mailboxes and look for the reaction when they got a new video. And we saw this smile just spread across their face. People just love receiving boxes. It's probably because we're moving so fast into a digital world and everything is delivered digitally nowadays. There's not enough physical contact.

That's true. And so many people, particularly brands, are looking for a way to deliver that physical feeling of connection. The moment I saw the site, I thought of a million different ways that brands could use this platform. Do you envision that happening?
We thought about it, and we think there's an opportunity there, whether it's a movie or a product release. But there's a lot of other people who do that, and so we're really focused right now on delivering a personalized experience that feels like a package you received from someone you know. There has to be a connection there.

We're not there yet. We continue to try and personalize things, and sometimes we remove a category because we realize we can't make it personal enough. For example, there was a Dog Lovers Quarterly package. And the problem was, every dog owner has a different size or type of dog. So we couldn't just send one size of thing. One size collar, one size toy, one size treat. Our overall goal is to continue to personalize that package so it's fairly customizable to each person.

I'd be remiss if I didn't ask you if BarkBox had something to do with discontinuing the Dog Lovers package.
(Laughs) It's really just a point of customization. We really believe in making the experience as personalized as possible.

Speaking of the boxes, how do the individual contributors advertise them? I noticed BoingBoing's Mark Frauenfelder gives sneak peaks of his boxes. Do you give them any guidelines for how to advertise?
We all agree that you should keep it a surprise. But we do give all our contributors our best advice for reaching people through social media, so we show the best examples on Facebook and tweeting and Instagram and blogs. Most of our contributors are actually more sophisticated than we are.

Do you know how Bill Nye is planning to announce his Quarterly box to his followers?
I don't think he's going to be wearing a Quarterly T-shirt on Dancing With the Stars, but you never know.

Well, now that you've called him out, he has to!
That, I would love to see.

Want to know what Bill Nye's first, world-changing package is going to contain? You'll have to subscribe and wait just like the rest of us.


    

Funky Chickens Rule the Viral-Video Roost for Mercedes

Once again, subservient chickens make a branding video go viral. Mercedes-Benz and German agency Jung von Matt/Neckar are nearing 1.5 million views in less than a week with this extremely offbeat ad starring some white-gloved Mummenschanz types who help chickens "dance" to Diana Ross's disco classic "Upside Down." Supposedly, this demonstrates the automaker's "Magic Body Control" suspension system. The birds' bodies sway, but their feathered faces stay sublimely still, staring stupidly into the camera, as delighted YouTube viewers, myself included, stupidly stare back. This is why Al Gore invented the Internet. This is advertising! Go suck an egg, Boy Hitler!

UPDATE: Was there a thief in the creative hen house? Ogilvy did a similar spot for Fujifilm back in February. Thanks to @axelk for the heads up.


    

Salora Power by BEI Confluence

Advertising Agency: BEI Confluence, New Delhi, India
Creative Director: Ammar Mohammed
National Creative Director: Anwar Abbas
Art Director / Illustrator: Deb Chakraborty
Copywriter: Ranit Mukherjee

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The post Salora Power by BEI Confluence appeared first on desicreative.

Print Ads Just Can’t Keep Up With the Porsche 911

Here's a nice, fun, simple campaign for Porsche China by the Shanghai office of Fred & Farid. And kudos to the client for agreeing to lose the beauty shots of the vehicle almost entirely. Three more ads plus credits below.

CREDITS
Client: Porsche China
Campaign: "Away"
Agency: Fred & Farid, Shanghai
Executive Creative Directors: Fred & Farid
Creative Director: Gregoire Chalopin
Copywriter: Gregoire Chalopin
Art Director: Pierrick Jegou
Brand Supervisors: Carsten Balmes, Estella Yang
Agency Supervisors: Vivian Wang, Kylie Wang
Retoucher: Hongxia Wang


    

Brewer Secretly Rigs Plumbing in Man’s House to Make Beer Flow From Every Tap

Those jokers at Saatchi & Saatchi and Tui Brewery have a viral hit on their hands, notching more than 5 million views in about a week for various versions of a video that shows some New Zealand dudes pranking a pal by rigging the plumbing in his house so that every tap dispensed beer. An integrated campaign will follow.

Russ, the good-sport prankee, seems understandably surprised, though not especially upset, when intoxicating brown brew starts flowing from his kitchen and bathroom spigots. (The tap water in my apartment looks like that, and I get kinda woozy when I drink it, but I'm pretty sure it's not beer.)

Tui's technicians and a master plumber painstakingly hooked up kegs to the pipes supplying Russ' house. "It went without a hitch," says Saatchi creative director Guy Roberts, "although the plumber did have to make sure it was properly connected so we didn't feed beer back into the city water supply." (Now there's an ad campaign I'd like to see!)

The effort's not upsetting like some prankvertising stunts, but there is a certain inherent creepiness in having friends and strangers invade your space and make "alterations" when you're not home. Hopefully they removed all the surveillance hardware—14 tiny hidden cameras were used to make the video—or footage of Russ's butt could wind up on YouTube any day now.

This is the kind of stunt Anheuser-Busch could never attempt. If you replaced tap water with Michelob or Bud, who'd notice?


    

Creative Artworks by Alex Solis

Alex Solis est un illustrateur américain qui a pu déjà dessiner de nombreux visuels. Avec un trait simple, sympathique et reconnaissable, ce dernier nous propose de découvrir ses mises en scène d’objets de la vie quotidienne, prenant une autre dimension avec son trait. De bonnes idées à découvrir dans la suite.

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Creative Artworks by Alex Solis16
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Creative Artworks by Alex Solis8
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Creative Artworks by Alex Solis2
Creative Artworks by Alex Solis1
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Campbell’s Wisest Kid Mascot Isn’t the Soup Company’s Wisest Idea Ever

Oh, a wise guy, eh?

Just in time for Advertising Week, BBDO and Campbell Soup introduce a new brand mascot, "The Wisest Kid in the Whole World"—basically a little boy with a really long beard who sits atop a pile of rocks, guru-style, and dispenses soup-related advice for parents. Most of what he says—"When the mouth slurps the belly smiles," "More ways to dunk than can be thunk" and "Mealtime is no paradox"—reminds me of the stuff I read on lists of crappy brand tweets.

In one especially awful commercial, Mom wants to be more fun, so she dances in an especially irritating and unfunny way. In another spot, not nearly as awful but still kind of pointless, the Wisest Kid unfurls an impossibly long "Scroll of Infinite Deliciousness" down a suburban neighborhood and into a family's kitchen. The young actor, who resembles Macaulay Culkin at his Home Alone peak, is quite good, but every other element in this campaign is about as sharp as a wet noodle.

"The campaign was inspired by the wise things that kids say, when you really listen to them," says Ed Carolan, president for U.S. retail at Campbell. "Who knows what makes kids happy but other kids? So we might as well ask the Wisest Kid in the Whole World."

Puh-lease, Mr. Soup Man, stop spoon-feeding us nonsense. What we're dealing with here is soulless, derivative, über-corporate advertising that plays like a mishmash of ingredients someone forgot to heat up.

M'm! M'm! Bad! (Nyuk! Nyuk! Nyuk!)


    

L.A. Agency Shines a Light on Former Gang Members Trying to Make Peace

Spend a broiling hot summer on the streets of South Central L.A., a time grimly known to locals as "the killing season," to document some former gang bangers who now try to make peace? That's the idea behind LTO: License to Operate, a documentary from Culver City, Calif.-based ad and marketing agency Omelet and production partner Foundation Content. The project, now in Kickstarter mode to raise money for postproduction and music, started when Omelet, Foundation and director James Lipetzky shot a promotional video for nonprofit group A Better LA. Deciding there was a larger story to tell about former gang leaders working to stop violence and rebuild communities, Omelet and private investors ponied up money to get a full-length film off the ground. Omelet, an indie shop whose clients include blue-chippers like AT&T, Microsoft and Sony, wanted to shed light on inner-city gang crime and the dent that can be made when former gang members turn into peace ambassadors. They plan to finish the movie by October, with distribution still to be determined and the $50,000 Kickstarter goal still to be reached.

CREDITS
Omelet Producers and Creative Leads:
President, Chief Content Officer: Steven Amato
EVP Content and Development: Mike Wallen
Chairman, CEO, Executive Producer: Don Kurz

Foundation Content Credits
Executive Producer: Samantha Hart
Director: James Lipetzky
Associate Producers: Stacy Paris, Matthew Goodhue


    

Voice Actor Gives Himself a Shout-Out in Little Caesars Radio Ad

OK, Alan Varner, you probably think it's real cute that you broke through the "fourth wall" in this Little Caesars radio ad from Barton F. Graf 9000, inviting listeners who visit the restaurant to "tell 'em Alan Varner sent you. They won't know who that is, but as a voice actor, I'm always trying to get my name out there."

Oh, I imagine you fancy yourself "clever" and "innovative" for lines like, "Check me out at AlanDoesVoices.com. That's A-L-A-N-does-voices.com. But first, get the new Deep! Deep! Dish Pizza. It's hot and ready every day from 4 to 8 p.m. for just eight bucks." This isn't about you, Varner! This is about selling pizza … pizza so deep that the word "deep" gets repeated with exclamation points.

Do I insinuate myself into my AdFreak posts, Varner? I'd never sully this blog's reputation with shameless self-promotion, because I'm not even completely sure what the word "sully" means. I'm providing this link to my work and giving out my Twitter handle, @davegian, as a service to our readers, nothing more.


    

World of Pure Manipulation: An Honest Version of Chipotle’s ‘Scarecrow’ Ad

You know you have an advertising hit when the parodies start rolling in. Here is Funny or Die's take on the grand new Chipotle "Scarecrow" ad. The parody is just a joke, but it's not the first time the video has been labeled dishonest.


    

See the New York City Ballet’s Remarkable Film That Quietly and Beautifully Honors 9/11

Most of the brand talk around 9/11 this year was about marketers doing it wrong. But DDB New York and the New York City Ballet quietly did it right with a wonderful tribute called "New Beginnings," intended as a testament to the resilience of the human spirit and a tribute to the future of the city.

The video shows NYCB principal dancers Maria Kowroski and Ask la Cour performing on the 57th-floor terrace of Four World Trade Center in lower Manhattan. The backdrop, of course, is One World Trade Center. The dancers perform an excerpt from choreographer Christopher Wheeldon's poignant "After the Rain" pas de deux—signifying new beginnings in New York City. 

The film, directed by Davi Russo and produced by Radical Media, was posted at sunrise (6:34 a.m. EST) on Sept. 12 to NYCB's social channels, with the hashtag #NewBeginnings. "Our hope is that 9/12 can now be rebranded as a day of optimism and new beginnings," says Matt Eastwood, chief creative officer of DDB N.Y.

Check out the film, and full credits, below.

CREDITS
Client: New York City Ballet
Project: "New Beginnings"

Agency: DDB, New York
Chief Creative Officer: Matt Eastwood
Executive Creative Directors: Menno Kluin, Andrew McKechnie
Art Director: Joao Unzer
Copywriter: Rodrigo de Castro
Management Supervisor: Lauren Neuman
Account Executive: Cindy Nguyen
Head of Production: Ed Zazzera
Executive Producer: Teri Altman
Producers: Nina Horowitz, Zamile Vilakazi
Teaser Editor: Alec Helm
Head of Design: Juan Carlos Pagan
Designers: Brian Gartside, Aaron Stephenson
Illustrator: Steven Wilson

New York City Ballet
Ballet Master in Chief: Peter Martins
Executive Director: Katherine Brown
Choreographer (After the Rain): Christopher Wheeldon
Principal Dancers: Maria Kowroski, Ask la Cour
Managing Director, Communications and Special Projects: Robert Daniels
Senior Director, Marketing and Media: Karen Girty
Director, Media Projects: Ellen Bar

Production Company: Radical Media
Director: Davi Russo
Editor: Tim Zeigler
Executive Producers: Gregg Carlesimo, Maya Brewster
Producer: Logan Luchsinger


    

Adobe Shows You the Colorful, Weird, Scary, Brilliant Faces of ‘The New Creatives’

Adobe just passed the 1 million subscriber mark for its Adobe Creative Cloud and is celebrating with this eye-catching spot from Goodby, Silverstein & Partners—a salute to "the new creatives" in art and advertising.

"Creatives today do a little bit of everything, from illustration to filmmaking to Web design," says GSP associate creative director Will Elliott. "We wanted the spot to celebrate how all these different disciplines are coming together."

The spot features a series of artists whose work is projected across their faces. The artists include Joshua Davis, Dylan Roscover, Anita Fontaine, Jeremy Fish and Alejandro Chavetta. Additional artwork was crowdsourced from Behance.

The soundtrack is "Default" by Django Django. Full credits below.

CREDITS
Client: Adobe
Spot: "I Am the New Creative"
Campaign: "The New Creatives"
Agency: Goodby, Silverstein & Partners

Creative
Co-Chairman, Creative Director: Rich Silverstein
Associate Creative Director: Will Elliott
Senior Art Director: Patrick Knowlton
Art Director: Sam Luchini
Copywriter: Roger Baran

Production
Director of Broadcast Production: Cindy Fluitt
Executive Producer: Cat Reynolds
Director of Graphic Services: Jim King

Account
Associate Director, Account Management: Todd Grantham
Account Director: Joel Giullian
Account Manager: Varoon "V.J." Jain
Assistant Account Manager: Laura Black

Strategy
Group Brand Strategy Director: John Thorpe
Brand Strategy Director: Brendan Robertson

Media
Group Communication Strategy Director: Dong Kim
Senior Communication Strategist: Nicole Richards

Production Company: eLevel Films
Director: Brady Baltezore
Executive Producers: P.J. Koll, James Horner
Producer: Chris Whitney
Director of Photography: Juli Lopez
Stills Camera: Claude Shade

Postproduction: eLevel
Post Producer: Katharine O'Hara
Visual Effects Supervisor: Nathan Shipley
Animation: Jessica Gibson
Editor: Erik Johnson
Assistant Editor: Quinn Moticka


    

Terrie Hall, Star of the CDC’s Anti-Smoking Ad Campaign, Dies at 53

Terrie Hall, who starred in Arnold's brutal national anti-smoking campaign for the Centers for Disease Control and Prevention, died this week in North Carolina. The image of Hall hiding the ravages of smoking-induced cancer with a wig, false teeth and a scarf is pretty harrowing, and the same can be said for her artificial voicebox. Those get used a lot in anti-smoking ads, but there's always something heartbreaking about them. I often wonder if people like Terrie are being exploited, if their real suffering should be harvested for a marketing effort, even one that's relevant to their condition. But the CDC says the campaign, called "Tips From Former Smokers," prompted 100,000 people to quit. "She was a public health hero," CDC director Dr. Tom Frieden said of Hall. "She may well have saved more lives than most doctors do." Hall was 53.


    

Seth Pathology Lab

Advertising Agency: Publicis Communication, Mumbai, India
Credits – Chief Creative Officer: Ashish Khazanchi
Executive Creative Director: Ferzad Variyava
Art Director: Anant M Singarwadi
Copywriters: Ferzad Variyava, Manan Pandya
Illustrators: Ramesh Nannware, Sahebrao Hare
Additional credits: Manan Pandya

seth

 

 

The post Seth Pathology Lab appeared first on desicreative.

Second Lovely Ad for the iPhone 5C Suggests You Might Want to Play With It Instead of Eating It

Say what you will about the iPhone 5C—the ads for it are gorgeous and bubbly. Apple this afternoon released the second 5C spot in the space of three days, this one a 55-second jaunt through another candyland. It's not quite as chocolatey as the first, but then, this spot focuses a bit more on what's inside the thing—not just on the edible polycarbonate exterior.


    

Watch the Thai Commercial That Has Half the World Sobbing Uncontrollably

Looking for a tear-jerker today? Thai mobile company TrueMove has got you covered with this story of a noodle seller whose generous act toward a young boy with a sick mother brings unexpected rewards 30 years later.

With almost 6 million hits in just a few days, the ad is getting lots of press. The tagline is, "Giving is the best communication." It's not entirely clear (at least in the ad) how that relates to a mobile company, but frankly, it doesn't need to. The buzz (and the vague hope that it will encourage random acts of kindness among viewers) is all that really matters.

Oddly, instead of focusing on the story, a bunch of bloggers have latched onto the ad and are using it to start a flame war with American advertisers about why we can't come up with ads this moving and cinematic. Way to generalize, guys. I didn't see you talking about awesome Thai ads when they punked you last month with the hot chick who was a dude.

I guess that was a different kind of crying game.


    

Speeding Truck Drives Over Engineer’s Head in Latest Scary Stunt for Volvo Trucks

Starring in this risky spot for Volvo Trucks might give Roland Svensson a big head. Luckily, the engineer's head measured only 10 inches high when he was buried up to his neck in the sand and let a Volvo FMX truck, which has 12 inches of space between the ground and its undercarriage, drive over him. (Volvo swears the stunt is real, but did tell the Huffington Post that some "Hollywood editing" was employed for visual enhancement.)

I prefer this brand of stuntvertising to the more mean-spirited, pseudo-reality pranks. The enthusiastic participation of the Volvo employees is more compelling than just surprising and upsetting unsuspecting people on the street or in offices. Plus, this latest stunt, while outlandish, does illustrate an actual design feature of the truck—its high-clearance suspension system, which the spot's star helped to develop. Conversely, most prankvertising campaigns serve up shocks and little else.

This particular bit of automotive daredevilry makes Svensson's boss, Volvo Trucks president Claes Nilsson—who delivered a sales pitch while standing on an FMX suspended high above a harbor—look like a spineless wimp by comparison. Man up, Claes—take some real risks!

Meanwhile, in a different video, also posted below, Charlie the hamster demonstrates the easy handling of Volvo's truck by actually steering one of the vehicles on a dangerously twisty Spanish quarry road. The little guy's understandably a bit fuzzy on the concept, so he's guided by a driver who dangles a carrot into his specially designed hamster wheel, which is attached to the truck's steering wheel.

Suck it, Kia hamsters!


    

Dennis Rodman Goes Boom in Pistachios Ad With Fake Kim Jong-un

Keyboard Cat, Snoop, Psy, the Winklevoss twins and Snooki were all in on the joke. Can the same be said for Dennis Rodman and the Prancercise lady? Oh sure, it's just the Wonderful Pistachios campaign revving up another round of zeitgeist-tapping absurdity. There's no apparent end to the reality-TV, pop-culture, animated and sports figures who will make themselves available for these ads. In fact, if this marketer doesn't ask how or why you do it—eat pistachios, that is—then you must not be very important. Rodman? He does it "because he's nuts," says the newest spot, in which the former NBA player turned diplomat appears with a less doughy version of Kim Jong-un (a look-alike) to hawk the healthy snack. And the Prancercise lady? Who can get enough of her spindly, energetic dancing? Next, somebody will have to twerk.


    

Fly JetBlue and Stop Being a Sad, Pathetic Loser Like This Pigeon

JetBlue Airways is launching a big new ad campaign from Mullen with the theme "Air on the Side of Humanity." But its big star isn't even human—he's a pigeon.

The 60-second launch spot is a documentary-style piece in which the pigeon—that most frequent of frequent fliers, and most underappreciated of birds—talks about how he flies in crowded spaces, gets crumbs for snacks and is generally ignored. Thus, he's a stand-in for the masses who, with ruffled feathers, shuffle onto rival planes and experience the worst of air travel. "There's got to be a way to fly with a little respect. You know?" our hero asks at the end, as the tagline appears on screen.

The campaign breaks first in Boston, where JetBlue has the most daily nonstop flights of any carrier, and includes TV spots (running in 39 prime-time season premieres), online advertising, microsites, mobile, social, experiential and out-of-home advertising. Most intriguingly, JetBlue is also partnering with Mobile Theory on a voice activation unit that will teach consumers "how to speak pigeon on their smartphones."

There's also a digital experience and social hub called Central Perch, where you can send messages to friends through virtual carrier pigeons on Facebook. Meanwhile, check out the launch spot and credits below.

CREDITS
Client: JetBlue Airways
Spot: "Air on the Side of Humanity"

Agency: Mullen
Chief Creative Officer: Mark Wenneker
Executive Creative Director Tim Vaccarino
Executive Creative Director Dave Weist
Group Creative Director Dylan Bernd
Sr. Copywriter Jack Collier
Writers: Evelynne Scholnick, Nick Olish
Sr Art Director: Dan Madsen
Art Directors: Jay Spahr, Mauricio Perez, Kara Noble
Digital Designer: Scott Petrichko
SVP, Creative Technologist: Christian Madden
Creative Technologists: Dave Lee, Stefan Harris, Joe Palasek
Executive Director of Integrated Production: Liza Near
Head of Broadcast Zeke Bowman
Producer Vera Everson
Sr Digital Producer: Kim Ryan
Digital Producers: Heidi Laidlaw, Charley Perkins
Experience Designers: Hoon Oh
Group Account Director Drayton Martin
Account Director Jill Rugani
Account Supervisor Hannah Moore, Cece Wedel
Senior Account Executive Molly Barag
Assistant Account Executive Vish Chandawarkar
Animation Designer: Veronica Padilla
QA: Ryan Nelson
Copy Editors: Ashley Rumery, Eric Maus, Rebecca Rehbein
Strategic Digital Analysts: Steve Sandiford, May Liu
Sr Computer Artist Kathryn Lane
Project Manager Niha Reddy
Production Supervisor Mark Gardner
SVP Group Media Director Keith Lusby
VP Associate Media Director Chris McLaughlin
Senior Media Planner Lauren Atkins
Assistant Media Planner Charlie Weickert
VP Group Digital Media Director Jade Watts
Associated Digital Media Director Rachel Allen
Digital Media Supervisor Erin Kelly
Digital Media Planner Caroline Caterine
Account Director PR Jaclyn Ruelle
Account Supervisor PR Christina Simmons
Account Executive PR Arianna Rubinstein
SVP, Group Strategy Director Fredrik Sarnblad
Senior Planning Analyst Chris Plating
Senior Brand Strategist Lirra Schiebler

Production: Hungry Man
Director Hank Perlman
Executive Producer Mino Jarjoura
Producer Martha English
Director of Photography Tom Richmond

Editorial: P.S. 260
Producer Laura Lamb Patterson
Editor JJ Lask
Assistant Editor Colin Reilly, Joe Simmons

VFX: Brickyard
Executive Producer Kirsten Andersen
Lead VFX Artist Geoff McAuliffe, Jimi Simmons
Animation Director Anders Beer

CG: General Gau & Brickyard VFX
Executive Producer Kirsten Anderson

Music: Original Music by Human

Audio Post: Sound Lounge/Soundtrack
Sound Design/Mixer Tom Jucarone, Glen Landrum, Mike Secher