Flight Centre to review UK media account
Posted in: UncategorizedLONDON – Flight Centre, the global travel agent, is planning to review its UK media account estimated to be worth £500,000.
LONDON – Flight Centre, the global travel agent, is planning to review its UK media account estimated to be worth £500,000.
Ao invés de pensar nos seus pés, pense na corrida. É essa a mensagem da New Balance em sua nova campanha, criada pela BBDO New York.
É uma estranheza curiosa, e eficiente, pra fazer você prestar atenção em um comercial de TV. A produção é da RSA, com pós da Nomad.
Post originalmente publicado no Brainstorm #9
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Mediabrand’s Initiative has launched a new “performance-driven” approach to communications across the agency network that will introduce a new measurement process to ensure every aspect of its marketing services is optimised for maximum return.
LONDON – Michelle Surrell, Bauer Media’s regional radio managing director for the North West, is leaving the company after 22 years to pursue opportunities outside the industry.
LONDON – Meccabingo.com is to launch its first integrated campaign in more than two years.
LONDON – AOL has named its first board of directors since it announced its separation from parent company Time Warner.
LONDON – Samsung is inviting consumers in the UK to produce their own videos which could be used as Samsung Mobile’s next TV commercial.
LONDON – The RSPCA ihas become one of the first charities to use augmented reality in a marketing campaign, as part of its push to stop wild animals from being used in circuses.
Seeper is an arts and technology collective. Founded in 1998 seeper’s nucleus is the pursuit of essence. Exploring natural user interaction and ubiquitous computing to create multi-sensory experiences and memories. The integration of computers into our lives has seen us learn and develop physical skills and languages centered around the use of devices such as the mouse and the keyboard. Now we have the opportunity to reflect on this history and realise that we can interact with computers in much more intuitive and expressive ways. At seeper we are exploring the use of gestural air and touch integration to allow a new range of interfaces devices and experiences for users.
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http://www.seeper.com/
LONDON – Broadcast regulator Ofcom has ruled Sky Sports’ coverage of this summer’s Ashes cricket series was in breach of UK product placement rules when it included Specsavers branding every time Hawk-Eye graphics were used.
NEW YORK (AdAge.com) — Do adolescents require special new protections against digital marketing techniques? In her talk at the Children's Advertising Review Unit Conference, Ellen Wartella cited new findings that suggest they might. The regulations for children's' advertising developed in the 1970s are based primarily on television viewing. But today's digital communications have completely changed the marketing environment. Ms. Wartella is a professor of psychology at the University of California and a CARU advisor.
Advertising jingles are something consumers love to hate and hate to love. We hum them at bus stops and sing them in the shower. Sometimes (when done correctly), we even associate the correct brand with the right emotion every time we begin into its corresponding tune.
Why are these seemingly simple and oft-idiotic ditties so catchy? Where did they come from? Furthermore, how have they been so persuasive in advertisements for just short of a century?
It all began with a Wheaties radio ad in the 1930’s. A local radio ad implemented what we know today as a jingle. The Wheaties brand was about to plunge into oblivion, but shortly after the ad ran a few times, Wheaties sales shot through the roof. Upon seeing this explosion, the ad men on the account decided to test it nationally. The result was over 75 years of head-pounding, catchy infuriation (plus a box of Wheaties in every American pantry).
What keeps the tune of “Double Your Pleasure” in your head for hours, days, and weeks on end? Scientists have actually linked it to something within our inner ear known as the phonological loop, which remembers sounds in a chronological order and repeats these sounds to remember them (the same system we use to learn language in our infant years). By creating very short, simple tunes with heavy repetition and ease of recital, advertisers and jingle-makers are able to hack into our brains and insert a message about their brand that is harder to remove than Disneyland’s “It’s a Small World,” essentially enslaving us to their haunting taglines.
With that in mind, the fact is the popularity of jingles rises and falls more than that of President Obama. Like many fads, jingles go through periods of heavy enjoyment and utter disgust. That’s because of the inner turmoil we experience in the midst of a catchy jingle. It may be momentarily fun from time to time to sing along with one, but after you’ve pounded your head against the door several hundred times in an attempt to literally and/or metaphorically knock the tune out of your head, we grow contempt for the once beloved jingle.
Jingles reached their heyday in the 1950’s and have waned in popularity since. Advertisers will go through periods of using full songs in their ads, essentially piggybacking on the popularity of the artist and capturing the emotional essence of what they represent. After those periods are played out, the general public is often ready to return to simpler time of the 10-second jingle.
Are jingles the craze again? Are we ready to form a nationwide mob to hunt the next McDonald’s jingle maker? Well, I’d say jingles are in, but this may be due to the fact that I live in San Diego and am subjected to the incessantly repetitive ditty tied to King Stahlman Bail Bonds: “It’s better to know me/And not need me/Than to need me/And not know me.”
Hopefully, it’s a jingle limited to San Diego.
Stu Haack is a Copywriter & Social Media Guru at Aviatech. He likes long walks on the beach and scary movies. Learn more about him and his writing.
Advertising Agency: AlmapBBDO, São Paulo, Brazil
Chief Creative Officer: Marcello Serpa
Executive Creative Director: Marcello Serpa
Creative Directors: Luiz Sanches, Dulcídio Caldeira
Art Director: André Gola
Copywriter: André Godoi