Denver Water's Outdoor Campaign Gets Even Cooler With These Incredible Handmade Ads

The well of inspiration apparently never runs dry for Denver Water’s long-running “Use Only What You Need” campaign. And while Sukle Advertising’s lauded conservation initiative often features eye-catching public installations, this year’s installment is brimming with artistry.

The agency used diverse materials such as colored pencils, Post-it notes, clay, crushed soda cans, Legos, yarn and string to create 10 original piece of art. Each depicts water in various forms, such as drops, splashes, cascades, showers and spray. The work adorns bus shelters around Denver, as well as print and online ads. The headline, “You can’t make this stuff,” drives home the message that water is a non-renewable resource.

Most of the results are quite splashy. For example…

I’d love to see this “fluffy” Lego cloud hovering over my block:

These pencil-tipped waves make a good point:

Someone should put a cap on this knitted-yarn faucet:

Here’s a fresh take on string theory:

This Post-it note poster is good to the last, well, you know:

“Consumers often see conservation as a sacrifice, something they have to give up, which they often aren’t willing to do,” says agency founder and creative director Mike Sukle. “We have, instead, used the approach of ‘not wasting.’ Consumers see waste differently than conservation, so the messaging of ‘Use Only What You Need’ follows the mind of the consumer that wasting is wrong.”

Water use in Denver recently hit a record low, so it appears the campaign, now in its ninth year, is having an impact. Alas, a local Lego shortage looms large, as Sukle reports using 6,000 of the colorful plastic bricks for the new ads.

Check out more executions below.



Holiday's Over for Germs in These Awesomely Gross Ads for a Unilever Cleaning Brand

Attention, germaphobes. Here are your worst nightmares realized.

Unilver cleaning brand Domestos is out with three new print and poster ads in the U.K. that vividly imagine microorganisms as gross cartoons on vacations—swimming, snapping selfless, sipping cocktails on the beach (yes, that’s duck face).

The “Holiday’s over” tagline is a little long on bravado, but the illustrations—created by Bangkok CGI studio Illusion, via agency British agency DLKW Lowe—might be the most gorgeously disgusting visuals ever (even if Harvey Keitel’s credits apparently include voicing one of their millions of impressively hideous dead ancestors).

Now enjoy your righteous sense of horror, and go and wash your hands.

Full ads below. Click to enlarge.

CREDITS
Client Name: Domestos
Campaign Name: Holiday’s Over
Agency: DLKW Lowe
ECD: Richard Denney, Dave Henderson
Global Creative Director: Tony Hardcastle
Creative Team: Katrina Encanto,  Edgar Galang 
Planner: Richard Kelly
Account Team: James Pool, Ross Marshall
Agency Producers: Gary Wallis
Media Agency: Initiative 
Design Company: Illusion Co. Ltd  
Illustrators: Surachai Puthikuangkura, Supachai U-Rairat
Producers: Somsak Pairew, Kitidej Rattanasuvansri



Tylenol Further Explores the Changing Face of the American Family in New Ad

Tylenol is continuing its celebration of diverse families with a new commercial from J. Walter Thompson in New York featuring same-sex and interracial couples.

Titled “How We Family,” the ad is part of a broader effort to to challenge conventional—that is to say, conservative—definitions of family. Tylenol launched the campaign last fall by repurposing the classic holiday dinner scene in Norman Rockwell’s painting “Freedom from Want,” to profile contemporary families, including a lesbian couple who work closely with one woman’s ex-husband to raise the children from both relationships.

Sure, the tagline is a little clunky. And the cultural tides on LGBT issues have been shifting for a while now (a majority of Americans expect the Supreme Court to allow same sex marriage in the court’s imminent decision, and support it; brands have been increasingly open in embracing the LGBT community). So it’s a question of degrees as to how much Tylenol is pioneering, and how much it’s capitalizing.

But that also almost doesn’t matter. In a marketplace where some consumers still lose their minds over a Cheerios commercial with an interracial couple, and where the heads of reactionaries similarly explode over Tylenol’s decision to feature a same-sex couple in an ad, the brand deserves credit for using its ad dollars to spread a message that’s in exactly the right spirit … even with a desire to profit (and a considerable opportunity to do so) at the heart of it.

And while the topic might seem a bit far afield from the brand’s core business, it’s actually pretty appropriate for a product that makes pain go away.



Toyota Japan Tells the Same Story Twice in This Really Lovely Father's Day Ad

Toyota is celebrating Father’s Day with a sweet ad about a dad and his daughter’s relationship through the years—told from both perspectives.

The three-and-a-half minute montage first tells the story from the father’s point of view, starting when his girl is just a newborn. As she grows up, he graduates from a small hatchback to a minivan, and he eventually slaps a “Baby on board” sticker on her own car (for his grandkid).

The real fun, though, comes in the second half of the commercial, which follows the same story but told from the daughter’s perspective, throwing in even more cute tidbits—like the moment, as a teen, when she tosses the giant pink mittens she’s outgrown but Dad is still foisting upon her.

Father-daughter car stories are nothing new—Subaru famously excels at them. General throwbacks to growing up while riding around in a particular make are familiar, too, as are series on an automaker’s evolving models.

But Toyota’s approach here blends a number of popular themes into a powerful sequence that, save for some not-entirely-convincing aging, is well-produced. The split story is also an effective hook—once you’ve seen the father’s side, curiosity about the daughter’s take on the same events helps carry it through to the end.

Eventually, the ad does deliver its own hard sales pitch—a Toyota collision alarm system saves all three generations from rear-ending the car in front of them. The subtitled English translation of the tagline—”Love works invisible. Toyota works love”—doesn’t really do it justice. The rough spirit of the Japanese is something closer to “Love invisibly watches over you. We use the same eye in our cars.”

That’s not a bad way to tie the whole piece together, even if it’s safe to say that when all is said and done, Toyota loves your money more than it loves you.



Havas Chicago Is Loaning Out Its Summer Interns to Local Businesses That Need Them

I asked Havas Worldwide Chicago to #GimmeAnIntern for this post.

They sent me three.

Along with honing their skills in various agency departments, the 14 lucky folks in Havas’s 10-week summer internship program are being “loaned out” to local businesses, cultural institutions, sports teams and celebrities—anyone, actually, who makes a strong enough case on social media using the #GimmeAnIntern hashtag or via email. The interns are sharing their adventures in real-time video via the agency’s Periscope account and elsewhere on social media.

Coffee and danish runs for the ECDs just won’t cut it anymore, I guess. (That said, the Havas 14 are also required to spend time sitting on display in the agency’s street-level lobby, in full view of the public. So the time-honored tradition of humiliating interns by giving them stupid stuff to do isn’t dead yet.)

“In order to create campaigns that drive cultural conversations, you have to be immersed in culture,” says Celia Jones, Havas group brand director. “That means not only being exposed to the thinking and creativity within the walls of the agency, but also giving interns an opportunity to gain hands-on experience out in the world.”

I always thought folks went into advertising to escape the real world to a fantasy-land of brand worship where everyone eventually wins an award. Luckily, these plucky wannabes aren’t tainted by such cynicism. Yet.

Christina Muth, one of the interns, who graduated from Mount St. Joseph University with a business degree, enjoyed her first out-of-agency experience—working at a food blog. She says she leaned a lot about how media sponsorships work.

“I can’t wait to do it again,” she says, “especially if it involves food for a second time. But next time, I’d like to assist in the eating.”

Another intern, Chicago Portfolio School student Jeff Polaschek, was assigned a test-riding task at Divvy Bikes. Of the Havas program, he says, “They are just trying to keep us out of the agency because we are too good.” (If you guessed he’s a copywriter—bingo! He’s also branded himself as the “oldest intern ever” on Twitter.)

Carina Sherman, who graduated with a B.A. in communications and English from Andrews University, hopes her first real-world posting involves music. “I don’t want to brag, but I make the best playlists,” she says. “Making music playlists for local businesses, road trips and even dinner parties is something I feel I’d have a real knack for.”

As an English major, she will need some other work skills to fall back on.

All kidding aside, #GimmeAnIntern sounds like an engaging way for the participants to learn about advertising and lots of others stuff, too. Plus, as Muth notes, “it also broadcasts to the world what Havas has to offer.”

Indeed, #GimmeAnIntern serves as a fun self-promotion. Havas says the social-media-based competition to select the 14 interns was so popular, it boosted the agency’s Instagram following by 12 percent. Now, in addition to media coverage, Havas is getting the word out via Popular Plays, offering hour-long intern assistance to Chicago Instagrammers with more than 50,000 followers. (The shop has done some innovative, high-profile intern stuff before, including last year’s Winternship initiative.)

So, what do the #GimmeAnIntern recruits plan for their professional futures?

“In the short time I have been here, I have realized that I would love to work as a digital strategist for great American brands,” says Sherman.

“I have this little dream of building something from the ground up—whether that’s a product, an event, or even an app,” Muth says. “I would love to be behind something that I could call my own and something that others can also share. Being in an environment of thinkers and creators only helps me to grow, and I feel very fortunate to be here. Maybe one day, my big idea will hit me, but until then, I am in love with being around individuals that inspire me to be better than who I was yesterday.”

And Polaschek? “I would love to be a creative director at an agency like Havas,” he says, “but more than likely I will die from indentured servitude here first.”



India's First Ad With a Lesbian Couple Goes Viral

An Indian clothing company is out with an ad that news reports are billing as the socially conservative country’s first to feature a lesbian couple.

Anouk and Ogilvy & Mather Bangalore created the spot, in which the couple get ready to meet—and, the ad suggests, come out to—the parents of one of the women. Three and a half minutes long, the spot aims for a casual tone, showing the women in their apartment, putting on makeup and chatting about clothing, hairstyles and their relationship.

While LGBT themes in ads are increasingly common and overt in the U.S, homosexuality is illegal in India. Two years ago, the country’s Supreme Court reinstated the ban after a lower court had ruled it unconstitutional.

The tagline, “Bold is beautiful,” risks conflating putting on a bright-colored dress with being open about one’s sexuality in a highly hostile environment. But the brand deserves credit for aligning itself with a progressive message—the ad seems to be mainly garnering support on YouTube (where it has more than 1.6 million views), even if the spirit of it is lost on the obligatory bigots yelling in all caps in the comments section of articles.

Yogurt brand Chobani, meanwhile, is out with its own lesbian-themed ad that’s much more explicit—and ridiculous—because why not play to base instincts, too?



Google Just Made One of the Most Compelling Ads Yet About Gender Transition

Transgender issues have been front-page news all summer, though brands have clearly had a hard time knowing what their role should be in the conversation. But now Google—one of the world’s most powerfully visible corporate LGBT advocates—is out with a new spot for Pride Month that tells the deeply poignant story of a transgender man and the small business that helped him during his transition.

The first half of the spot below focuses on Jake, who was born female but identified as male from a young age. The second half introduces City Gym in Kansas City, Mo., which has given Jake a place where he can feel comfortable getting to know his changing body and find support for him and his friends. (Another gym’s tagline, “No judgments,” would be much more apt at this place.)

It’s a wonderfully made spot. The story is skillfully and evocatively told, and never feels exploitative. The inclusion of YouTube videos in which Jake shows his transition are particularly resonant in describing his journey (and yes, Google’s ongoing behind-the-scenes role in it).

It’s also unapologetic about the business tie-in—the spot promotes the Google My Business tools for small businesses—which is a good thing, as it doesn’t feign disinterested altruism and presents a very tangible case for supporting LGBT-friendly businesses.

Google has done meaningful work in this space for years. Once again, it’s leading by example.



Traffic Cop Shockingly Lifts NYC Taxi, but It's the Ad Up Top That's the Giveaway

It turns out Thinkmodo can thrill people, not just scare them.

The viral marketing agency, best known for its frighteningly good Carrie and Devil’s Due prank videos, takes a refreshingly different approach with its latest video. It shows a petite traffic cop in New York City arguing with a cab driver—and then, in an apparent act of savage anger, lifting his vehicle clear off the ground.

It is, of course, a prank—though plenty of people in the vicinity were gobsmacked by the chain of events. And turns out the advertiser, car selling app CarLister.co, is visible throughout the video—on the ad atop the taxi itself.

Mashable has more on the making of the video.



Southern Comfort Wants You to Tan Your Giant Belly (and Your Lemonade) This Summer

The hirsute, rotund free spirit from Southern Comfort’s famous “Beach” ad in 2012 may have been harboring a dirty secret—his famous tan might have been at least partly self-inflicted—judging by the brand’s new spot, which goes to great lengths (and widths) to celebrate artificial bronzing.

The latest spot in the “Whatever’s Comfortable” campaign, from Wieden + Kennedy New York, shows three blokes in hairnets—and what frankly look like diapers—lacquering their pasty exterior Britishness in a golden hue. This is because the weather in Britain is terrible, and they can’t achieve a more natural summer glow by natural means.

Not that they’d want to. This spray-tanning business is borderline orgasmic, judging by their quivering reaction to the spray gun’s feathery touch. Comfortable is putting it mildly.

Tanning oneself is only part of the story, though. Viewers are also encouraged to “tan” their lemonade this summer by spiking it with Southern Comfort & Lime.

“Following the popularity of our previous ads, we’ve leveraged that momentum into a new chapter, one that not only heroes our ‘Whatever’s Comfortable’ attitude but also the drink itself,” says client marketing manager Gwen Ridsdale. “Southern Comfort lemonade and fresh lime, the brand’s recommended serve, is integral to the story in a unique way, which adds a whole new dimension to the campaign by encouraging consumers to ‘tan your lemonade’ this summer.

The spot breaks today online and will appear in cinemas and video on demand through the summer in the U.K.

CREDITS
Client: Southern Comfort

Spot: “Spray Tan”
Agency: Wieden + Kennedy, New York
Executive Creative Directors: Jaime Robinson & David Kolbusz
Creative Directors: Jimm Lasser, Caleb Jensen, Mike Giepert
Copywriters: Laddie Peterson & Rajeev Basu
Head of Content Production: Nick Setounski
Producer: Cheryl Warbrook
Strategist: Tom Gibby
Account Team: Toby Hussey, Katie Hoak, Kerry O’Connell
Business Affairs: Sara Jagielski, Justine Lowe

Production Company: Biscuit Filmworks
Director: Andreas Nilsson
Executive Producer/COO: Shawn Lacy
Executive Producer: Colleen O’Donnell
Line Producer: Mirka Taylor / Jay Veal
Director of Photography: Sebastian Wintero Hansen

Editorial Company: Arcade NYC
Editor: Geoff Hounsell
Post Producer: Cecilia Melton
Post Executive Producer: Sila Soyer
Editorial Assistant: Sam Barden

VFX Company: The Mill
VFX Lead Flame: N/A
VFX Supervisors: N/A
VFX Compositors: Tomas Wall, Rob Meade
VFX CG Artists: Andrew Bartholomew
Producer: Colin Moneymaker

Telecine Company: CO3
Colorist: Tim Masick

Mix Company: Heard City
Mixer: Phillip Loeb
Sound Designer: N/A
Producer: Natasha Alden & Sasha Awn

Song: All Gold Everything
Artist: Soulja Boy

 



Trussardi Designed These Fashionable Cans and Bottles for Coca-Cola's 100th Birthday

It’s been a full century since Coca-Cola approved the Root Glass Company’s contour bottle design that would become the soft drink brand’s trademark. So, to pat themselves on the back, Coke is teaming up with Italian fashion house Trussardi for a limited-edition collection of stylish aluminum cans and glass bottles.

I hadn’t heard of Trussardi before this, mostly because I don’t have $927 to throw at a leather jacket. But they’re a pretty big deal as far as high-end fashion goes, and have Lady Gaga and Katie Holmes wearing their clothes and designer bags and stuff.

The Trussardi cans will officially be introduced to the world at Expo Milan 2015. Maybe soda bottles aren’t the best case to show off haute couture aesthetics, though, because these designs aren’t any more impressive than the specialty street art/graffiti-inspired stuff Coke has put out in the past.

Maybe if they’d used their Hawaiian shirt pants as inspiration, I’d be more impressed.

Via Design Taxi.



Jeb Bush Unveiled His 2016 Logo, and the Internet Shouted Unkind Things at It

There’s nothing more infectious than good old fashioned enthusiasm from a presidential candidate. And what better way to project that political fervor than by adding an exclamation point to your campaign logo?

On Sunday, John Ellis Bush, known colloquially by a snappier acronym, did just that in unveiling his 2016 logo. It sure is enthusiastic, capped off by an actual exclamation point:
 

 
Many critics quickly pointed out that the logo is missing his surname, though given how politically charged the Bush name is, perhaps that’s not surprising. (Hillary didn’t even find it necessary to spell out her first name in her logo.) And anyway, Jeb has been using essentially the same logo—with the exclamation point—for 20 years:
 

 
Of course, everyone has an opinion about campaign logos, and the Internet had plenty of fun with this one as well. Here are some of the best reactions from the past day:
 

 
I couldn’t help but join in the fun, too.
 



Angel Soft Wishes Single Moms a Happy Father's Day in Unique Take on the Holiday

Adult children raised by single mothers wish their moms a happy Father’s Day in this interesting, unconventional take on the holiday by Deutsch L.A. for Georgia Pacific’s Angel Soft bathroom tissue.

The two-and-a-half-minute video presents various men and women who speak directly into the camera, thanking their moms for being both mothers and fathers in their lives. “She did it all, as though she was two people,” one subject says. The others echo this sentiment, explaining how their moms combined softness and strength, tying back to the brand’s new tagline, “Be soft, be strong,” which is introduced here.

Quite a few of these folks get choked up, but that’s de rigueur for the “gratitude advertising” category, and the tears are balanced by some lighter moments. (One guy recalls his mom teaching him to defend himself on the playground: “She was like, ‘When you punch, you put your knuckle out and you just go for it.’ I don’t even know if that’s a thing.”)

Sure, this is another attempt to yank viewers’ heartstrings, but the novel concept and no-frills presentation really carry the day. The subjects simply tell their stories, and there are no “dramatic appearances” by the moms, or clichéd hug sessions, so the spot feels less contrived than others in the genre. Another plus: The ad honors moms and dads by implicitly acknowledging the importance of the latter.

All that said, the work, from my perspective, has a basic conceptual flaw. While well-meaning, it could be be construed as trading in gender stereotypes. Some might find the suggestion of one parent typically being “soft” and the other “strong” kind of regressive. (Gee, I wonder which is supposed to be which?)

Don’t men and women—raising kids alone or together, or childless, for that matter—usually combine both traits to varying degrees?

CREDITS
Client: Angel Soft
Chief Marketing Officer: Douwe Bergsma
Senior Vice President & General Manager, Bath Tissue: Vivek Joshi
Senior Marketing Director, Brand Center: Shari Neumann
Senior Brand Director: Joe Stempien
Senior Brand Manager: Todd Wingfield
Brand Manager: Melissa Blunte

Agency: Deutsch L.A.

Creative Credits:
Chief Creative Officer, North America: Pete Favat
Executive Creative Director:: Karen Costello
Executive Creative Director: Juan Oubina
Associate Creative Director: Melissa Langston-Wood
Associate Creative Director:: Jorge Ortega:
Director of Integrated Production: Vic Palumbo
Executive Integrated Producer: Rachel Seitel
Integrated Producer: Win Bates
Associate Integrated Producer: Justin Polk
Music Director: Dave Rocco

Account Management Credits:
Group Account Director:: Erik Petersen
Group Account Director:: Montse Barrena
Account Director:: Megan Prince:
Account Director:: Lauren Pollare
Account Executive:: Melanie Faessler
Assistant Account Executive : Bianca Brittain

Account Planning:
Chief Strategic Officer: Colin Drummond
Executive Planning Director:: Jeffrey Blish
Group Planning Director:: Thas Naseemuddeen
Account Planner:: Eva Cantor
Digital Strategist : Janet Shih

Business Affairs/Traffic:
Director of Integrated Business Affairs:: Abilino Guillermo:
Senior Business Affairs Manager:: Terry Miglin:
Director or Broadcast Traffic:: Carie Bonillo
Broadcast Traffic Coordinator:: Anna Brito

Executives:
CEO, North America:: Mike Sheldon
President, Los Angeles: Kim Getty

Production Company: Steelhead
Director: Eric Kaufman
Executive Producer: Ted Markovic
Producer: Matt Johnson
Line Producer: Melissa Verdugo

Editorial Company: Steelhead
Editor: Morgan Griswold
Executive Producer: Ted Markovic
Producer: Simone Gurren

Post Facility: Company 3
Executive Producer: Rhubie Jovanov
Senior Colorist: Stefan Sonnenfeld

Post/VFX: Steelhead
Executive Producer: Ted Markovic
Broadcast Motion Design Director: Jason Porter

Music by: Elias Arts
Track Title: Father’s Day
ECD: Vincenzo LoRusso
CD: Michael Goldstein
EP: Vicki Ordeshook
Head of Production: Katie Overcash

Audio Post Company: Steelhead
Executive Producer: Ted Markovic
Mixer: Chase Butters



Finlandia Packs 1,000 Years of Offbeat Inspiration Into One Crazy Ad

Finlandia is gunning hard for the title of most inspirational vodka commercial ever.

A new two-and-half-minute ad, “1,000 years of less ordinary wisdom,” features offbeat heroes like a drag wrestler and reindeer racer offering tips on how to make it in the world, like “Be nobody’s bitch but your own” and “You’re only as fast as your reindeer.” In other words, a lot of the advice is, in spirit, not really that different from standard motivational fare, even if it comes from unusual sources and their unconventional contexts (though fashion icon Iris Apfel is not exactly out of the spotlight these days).

As for the title, the 1,000 years refers to the sum of the ages of the people in the commercial. A number of them are long in the tooth, which is cool, because listening to one’s elders is generally a good thing—they’re often less boring and clueless than young people. But the spot also makes sure to feature more sprightly accomplished types, too, like a prima ballerina and volcanic scientist (because it can’t really exclude representing the money demo, too).

Created by Wieden + Kennedy London, the spot relies heavily on a driving (mostly) instrumental version of the song “Undeniable,” by Donnie Daydream featuring Richie Sosa. That strings together the disparate footage from director Siri Bunford (though it might be worth mentioning that Adidas also just used the record as a soundtrack for its own sports-themed montage-qua-anthem).

Game of Thrones fans might enjoy that, as Fast Company notes, the strong man—Hafthór Júlíus Björnsson—is also a actor on the show. (He’s the latest in a string to play “The Mountain” Gregor Clegane, largely absent this season but for the occasional twitch from under a blanket on a laboratory table, the pseudo-zombie experiment of some sinister wizard. P.S.: If that’s where drinking Finlandia leads, no thanks.)

In all seriousness, though, the concept is pretty moving—a nice snapshot of various walks of life, with some clever and charming moments. Overall, it might even be convincing, except what drinking vodka really makes people want to do is drink more vodka and then pass out hard and sleep in the next day—not a great way to tear through that bucket list.

CREDITS
Client: Finlandia
Agency: Wieden + Kennedy London
Creative directors: Scott Dungate, Graeme Douglas
Copywriter: Paddy Treacy
Art director: Mark Shanley
Executive creative directors: Tony Davidson, Iain Tait
Executive producer: Danielle Stewart
Group account director: Paulo Salomao
Account director: Matt Owen
Account manager: Sophie Lake
Head of planning: Beth Bentley
Planning director: Martin Beverley
TV producer: Michelle Brough
Production company: Knucklehead
Director: Siri Bunford
Executive producer: Matthew Brown
Director of photography: Ben Smithard
Editorial companies: Lucky Cat, Whitehouse Post
Editors: Xavier Perkins, Lucky Cat; Adam Marshall, Whitehouse Post
Post producer: Anandi Peiris
VFX company: MPC
VFX supervisor: Bill McNamara
Flame artist: Bill McNamara
VFX producer: Anandi Peiris
Grade: MPC
Colorist: Matthieu Toullet
Titles/graphics: Ryan Teixeira
Music/sound company: Factory
Sound designers: Anthony Moore, Phil Bollard
Song: Undeniable, Richie Sosa
Interactive producer: Dom Felton
Director of relations: Marta Bobic
PR manager: Charlotte Corbett



Rolling Stone Wants the Whole World to Think, and Dress, Just Like Steve Jobs

In this amusing 90-second spot for Rolling Stone, men and women of all sorts dress up like Apple’s late co-founder Steve Jobs. They don wire-rim specs, black turtlenecks and blue jeans as they question aspects of their lives, large and small, ranging from health regimens and toupees to technology’s impact on the future.

The patently absurd sight of a geeky Steve army marching down the street is like an image plucked from Bill Gates’ darkest dreams. (Heck, it’s enough to give anyone nightmares!)

Produced in English and Spanish by The Community, the ad targets young adults in Argentina, encouraging them to “Question Everything” and find ways of improving their situations. It closes by showing a 2011 Rolling Stone cover: “The Steve Jobs Nobody Knew.”

The visuals here are pretty memorable, but the concept feels like a stretch, and doesn’t tie back to the magazine as well as it should. (The Community’s recent Corona spot, with winter narrating mournful letters to summer, is equally offbeat but more on brand.)

Mostly, “The Steves” reinforces Jobs’ standing as an icon of the highest magnitude. Ironically, that’s a distinction Rolling Stone itself once enjoyed, and the magazine’s effort to piggyback on the tech pioneer’s lasting relevance speaks volumes about our changing cultural landscape.

CREDITS
Client: Rolling Stone
Agency: The Community
Chief Creative Officer: Joaquin Molla / Jose Molla
Executive Creative Officer: Ramiro Raposo, Fernando Sosa
Art Director: Fernando Zagales
Copywriter: Juan Mesz
Group Account Director: Sebastian Diaz
Executive Account: Lucas Saez
Audiovisual Producer: Matias Castro
Responsible for the Client: Branowski Bárbara, Paula Rottenbücher
Production Company: Barry Company
Director: Mariana Youssef
Director of Photography: Adolpho Veloso
Director 1st Assistant: Elton Takii
Art Director: Guilherme Marini
Production Director: Tadeu Piantino
Wardrobe: Heloisa Cobra
Account Manager: Juliana Martellotta
Executive Producer: Krysse Mello
Editor: Alexandre Boechat / Rodolpho Ponzio
Postproduction: Fulano Filmes
Postproduction Coordinator: Karina Vallesi
Postproduction Supervisor: Ale Cois
Postproduction Supervisor Assistant: Sabrina Comar
Sound: Animal
Music Production: André Caccia Bava



This Agency Ran a Print Ad About How Angry It Was That No One Ran Its Print Ad

Here’s the moment when spec advertising finally digests its own tail.

The Open Collaboration (aka, OpenCo), a South African agency majority owned by TBWA, whipped up what it apparently considers a masterpiece of social-cause messaging—a print ad showing side-by-side photos of Hitler and Mandela in prison. Hitler served nine months, the copy explains, while Mandela served 27 years.

“People do not always get the justice they deserve,” says the copy below. “We’re doing everything we can to change that.”

Here’s the proposed ad. Click to enlarge:

As you can see, there is a blank space where the logo should go. That’s because it’s a spec ad, done without client approval—indeed, without a specific client in mind here. But OpenCo hoped some group devoted to righting unnamed injustices in the world would, after initially fainting at the ad’s brilliance, slap its logo on there.

That didn’t happen. So OpenCo, feeling offended, decided to do something even more solipsistic than regular spec work. It went and made another ad about the first ad, describing it in detail—to call attention to this fresh injustice, and hopefully get the spec ad in front of someone “brave enough to run it.”

Here’s that ad. Click to enlarge:

There’s so much that’s odd about this, even if you accept that it’s not just a cynical PR play (though the whole “This is not a print ad” thing does seem aimed at ad people).

First of all, the creative is provocative—it would be offensive to many—and might not align at all with any organization’s marketing needs. Not many people, after all, are all that fond of using Hitler in their ads.

Also, its internal logic is thorny at best. Hitler killed himself in disgrace, his dream destroyed, while Mandela was lionized. Focusing on the prison terms is a simplistic take on whether justice was served in either case. (Mandela’s family, by the way, would surely balk at seeing his image paired with Hitler’s under any circumstances—particularly when the message is how he got a raw deal compared to the Nazi leader.)

The bigger issue, though, is the arrogance. This is spec work. Getting indignant when no one buys it makes you look like a fool. And in this case, it’s worse than that. OpenCo isn’t just complaining about intransigent would-be clients rejecting its work. It’s flat-out calling them cowards. That’s a pretty rich point of view for an ad agency to take of nonprofits doing real social work.

Let’s assume this stunt was well meaning. (We emailed OpenCo a while back, but haven’t heard back yet.) Maybe next time, if they really want to fight injustice in the world, they can start by not publicly shaming organizations that do so every day.



Heineken's New Legend Leads a Romp Through the Parisian Underground

Men who drink Heineken are still going on wild romps through the world’s most colorful cities, but now one is leading a gaggle of clueless tourists as well.

In this new ad from Wieden + Kennedy Amsterdam, a dapper young man hijacks a tour guide’s authority and takes his charges to see the better, deeper secrets of Paris. Those include, naturally, a masquerade hidden in crypts beneath the city, with guests wearing plague doctor masks.

It’s a familiar formula for the brewer: A gregarious charmer, who could easily be the Most Interesting Man in the World in his prime, dances his way through a retro-hip wonderland, slugging Heinekens along the way. The twist here is perhaps that the hero is a little more gracious—less concerned with his his own appetite for chasing thrills and beautiful women (or, in that one instance, for finding his pet goat) and instead more eager to show the guests of his city a good time, as a sort of random act of benevolence.

The best moment, though, is probably the silliest—when the tour group is waylaid by a gang of mimes. Probably because after a parade of slick feel-good partying, nothing is more refreshing than a bunch of creepy overblown clowns making fools of themselves.

CREDITS
Client: Heineken
Global Brand Director: Gianluca di Tondo
Global Communications Director: Anuraag Trikha
Global Communications Manager: Diana Agudelo Hernandez

Agency: Wieden + Kennedy Amsterdam
Executive Creative Director: Mark Bernath & Eric Quennoy
Creative Director: Thierry Albert & Faustin Claverie
Art Director: Kia Heinnen
Copywriter: Zoe Hawkins
Head of Broadcast Production: Joe Togneri
Broadcast Producer: Elissa Singstock
Planner: Nick Docherty
Group Account Director: Jordi Pont
Account Manager: Amber Martin
Project Manager: Stacey Prudden
Business Affairs: Emilie Douque

Production Company: MJZ
Director: Dante Ariola
Director of Photography: Philippe Le Sourd
Producer: Natalie Hill
Executive Producer: Debbie Turner

Editing Company: Peep Show Post
Editor: Andrea MacArthur

Audio Post: Grand Central Recording Studios
Sound Designer/Mixer: Raja Sehgal

Music: Schmooze
Artist / Title: Feu Chatterton/ J’aime regarder les filles
Music Company: Schmooze

Postproduction: Method Studios New York / Co.3
Flame: Tom McCullough
3D: Rick Walia
Telecine: Stefan Sonnenfeld (Co.3)
Producer: Matthew Engel (Method NY) / Rhubie Jovanov (Co.3)



Orange Is the New Black's Latest Inmate Is a Character From a Virgin Ad Campaign

Last year, Virgin Media in the U.K. introduced an ad character who’s literally a night owl, staying up late to binge-watch show after show on Netflix. Now, that owl—who goes by the name Ally McNab—is one step closer to her anti-heroes on Orange Is the New Black.

A new campaign from BBH London, pushing Netflix streaming on Virgin, actually sends Ally to Litchfield Penitentiary, where she becomes the latest orange-clad newbie inmate. And the show’s famous characters even filmed scenes with their freaky new cellmate. (Not surprisingly, Suzanne “Crazy Eyes” Warren takes a shine to her new feathered friend—either because they have a similar stare, or because Crazy Eyes befriends everyone.)

The spot actually combines new and existing footage. It’s an interesting bit of film, considering all the players involved.

“It’s a piece of content involving an entertainment property, a subscription streaming service and a broadband provider,” says Jeremy Ettinghausen, innovation director at BBH and BBH Labs. “It stars characters from a TV show interacting with characters from an advertising campaign, in an advertising campaign for a TV show, a broadband provider and a subscription entertainment service. Is this a new content type? We don’t know. Is it interesting? We think so, maybe simply because we can’t put it in a box.”

The campaign is running online, on social media, in retail, and on video on demand. The third season of Orange Is the New Black hits Netflix on Friday.

CREDITS
Client: Virgin Media
Head of Brand Advertising & Sponsorship: Ellie Tory
Partnership Marketing Lead: Rob Cannon
Agency: BBH London
Creative Team: Dan Morris & Charlene Chandrasekaran
Creative Director: Tom Drew & Uche Ezugwu
Strategist: Elle Graham-Dixon
Account Team: Phil Lloyd
Production Company: Black Sheep Studios
Editing House: Black Sheep Studios
Post Production: OutpostVFX
Sound: Factory



Target Takes the Long View in This Beautifully Eloquent Ad for Pride Month

“We’re not born with pride. We take pride. Pride in celebrating who we were born to be.”

That’s the message of Target’s #TakePride campaign for Pride Month, shared across the retailer’s social channels this week, and led by an 80-second spot that mixes animation, live action and documentary footage to create a message about awareness and equality.

“We’re not born knowing where our life will lead, the obstacles we’ll face, the joy we’ll find,” the voiceover says. “We’re not born knowing that these milestones are also stepping stones in helping us find our footing in what we stand for, and who we’ll stand by.”

The spot speaks to an evolving understanding of one’s true self and respect for one’s place in the world. And it does so in forthright fashion, noting that “heartbreaks” and adversity shape human experience and character. Its imagery acknowledges the long, complex, often rough road to enlightenment, mixing shots of San Francisco’s 1978 Gay Freedom Day parade with contemporary footage of two dads and their new baby.

So, the ad’s about a journey of discovery—for those in the LGBT community and, ultimately, for all of us.

In a way, that theme reflects Target’s—and in a broader sense, society’s—history with such issues. (Though it has positively portrayed LGBT people in ads for several years, some had questioned Target’s stance on progressive issues before its very public move last September in support of gay marriage.)

In a blog post on Monday, Laysha Ward, Target’s social responsibility officer, unequivocally stated the chain’s position: “Target proudly stands with the LGBT community, both as a team member and team player through all that we do—from our volunteer efforts to our long-standing partnerships with groups like Family Equality Council and Gay, Lesbian & Straight Education Network, to the very products we carry in our stores and online.”

A gallery of rainbow- and “Love Is Love”-themed T-shirts, bow-ties, shorts, flip-flops and assorted paraphernalia follows.

Target is, after all, a for-profit venture seeking to sell stuff to as many consumer segments as possible. Yet its LGBT pitch is in step with the times, and in some ways transcendent, rather than opportunistic or cynical.

Just a decade ago, many mainstream marketers would have shunned such an appeal, fearing a backlash and boycotts from the right. Now, these pitches are becoming commonplace, part of the increasingly rich and inclusive lingua franca of modern life.

That’s a shift we can all be proud of.



Housewives Get Hot and Heavy With Their Books in New Ads for Harlequin Romances

Desperate housewives enjoy illicit entertainment right under their oblivious husbands’ noses in this campaign for Harlequin, the romance novel publisher, from BBDO Toronto and Someplace Nice director Pete Henderson.

The campaign, themed “Whatever you’re into,” is designed to communicate that there’s something for everyone in Harlequin’s wide range of book series. So, whether you prefer snogging on a washing machine with a cowboy or humping on a couch with a sailor, Harlequin has you covered (because the ads would be even more awkward if the ladies started getting uncovered).

Despite the sudden scare from Fifty Shades of Grey, Harlequin remains the juggernaut in romance publishing, putting out more than 100 books a month in 34 languages in 110 markets. The imprint was bought by News Corp. last year and now operates a as a division of HarperCollins.

With the “Escape the Everyday” campaign, it hopes to rekindle passion for its products among the average woman, who’s read only one Harlequin romance novel in the past five years. Also check out the Harlquin website, where you can play a game called “Date, ditch or marry,” which is a certainly a racier trifecta than the publisher’s official tagline, “Entertain, enrich, inspire.”

CREDITS
Client: Harlequin
Agency BBDO Toronto
Executive Creative Directors: Carlos Moreno, Peter Ignazi
Associate Creative Director: Linda Carte
Copywriter: Shiran Teitelbaum
Art Directors: Linda Carte, Alice Blastorah
Account Directors: Martina Ivsak, Paul Forrest
Account Coordinator: Zach Kula
Agency Producer: Aimee DeParolis

Production Company: Someplace Nice
Director: Pete Henderson
Executive Producer: Chilo Fletcher, Estelle Weir
Director of Photography: Jonny Cliff
Editing: Matt Dell, Ricochet
Music/Sound House: Ricochet
Colour: Eric Whipp, Alter Ego
Casting: Shasta Lutz, Jigsaw Casting



This Clever Billboard From Fiat Actually Helps Drivers Parallel Park

How easy would it be to parallel park if you always had a friend to help you—even when you were driving alone?

A new Fiat billboard created by Leo Burnett Germany invites viewers to imagine just that. The agency hooked up a digital screen with special software and a sensors to measure how far a driver’s rear bumper was from the car behind it, and then projected synchronized images of human helpers guiding the driver’s parking job—just like a passenger might get out and do.

It’s a simple, clever concept, appropriate to promote Fiat’s Parking Assist technology, an alarm system that warns drivers in reverse of objects behind them. The billboard even offers a range of different playful avatars for the computerized assistant—a biker, a child, a wise old-man. And the brand’s marketing team couldn’t resist designing one of them—a woman in a skimpy bunny outfit—to appeal to the leering set.

Unfortunately, that seems like the kind of thing that might make some drivers more likely to hit the car behind them.

Via The Inspiration Room.