Consultant/Ex-Droga5 Producer Gets Real on Why Agencies Are Having ‘a Tough Time’

Lindsay Slaby is a professional brand/agency consultant who also happens to be a veteran of various shops including AKQA, Cramer-Krasselt, The Barbarian Group and Droga5, where she was an executive producer.

A few days ago, she ran a fairly exhaustive LinkedIn post headlined “A tough time for ad agency positioning” that seeks to explain why, after speaking to “over 50 different US groups,” she believes that many people who work at American agencies are “[not] feeling comfortable in their current skin.”

It’s a checklist of concerns/complaints that will feel very familiar to the kind of people who might visit this blog as well as anyone who has ever bothered to peruse the comments:

  • Lots of talent has left the big agencies in recent years
  • Those agencies are now struggling to make themselves stand out in the marketplace
  • Search consultants’ pitch lineups include both very small and very large shops … which leads to some confusion
  • This fact is complicated by the growing number of “boutique” shops that don’t want to compete directly with their predecessors, instead taking their business piece by piece

The most obvious point is that the work has changed: more content at a faster pace and less reliance on that One Big Idea Campaign. But you already knew that. Slaby writes, “This has led to fear,” describing the existential angst as “palpable” at the big shops … and, we might add, in the comment threads on this blog.

She argues that agency leadership currently has one of two responses to search consultants: “get me out of here” or tell me exactly what to say to this would-be client, “because I really don’t know.” Seems that even managing directors are asking about “good jobs” at smaller shops.

This is all a bit gloom-and-doom, but Slaby goes on to list trends she’s witnessed within five different classes of agencies ranging from the mid-sized “we do everything!” operations to the activation agencies that trade reporters can’t quite figure out. There’s a bit of advice there too.

In short, she thinks:

  • Mid-sized agencies need to focus on the “integrated” point by highlighting communications and media planning services at pitch time
  • Smaller shops (which are almost always founded by veterans of the bigger ones) should emphasize their principals’ experience and expertise, explaining how they can help clients grow while remaining very compact and low-cost themselves
  • The former “digital only” banner ad/web design agencies have to decide what they want to be now that they’ve been forced to grow up: Activation? Production? Tech? CONTENT?!

We’re going to skip the activation agencies because they are completely impossible to cover, no matter how hard PR tries to work it. We do hear, though, that they are doing a lot better than the legacy shops because every big brand now feels like they need such a unit on the roster. Plus, live events.

The digital-and-creative agencies, though. They apparently need to figure out whether they want to make “experiences” or “products” instead of ads. We know where CP+B would like to go, given the number of “How Domino’s Became a Tech Company That Delivers Pizza” headlines we’ve seen over the past year or so.

None of this will come as news to people in agency leadership positions, but Slaby did a comprehensive job of summing up all the trends. It’s also kind of telling that almost all of the many responses to her piece come from fellow consultants, ad tech people and brand evangelists or whatever the hell they’re calling themselves these days.

So don’t worry, you probably won’t be going out of business at this moment! In the meantime, the stock image search results for “consultant” are exactly what you would expect, and they are glorious.

David&Goliath Agrees to Pay the ‘Ransom’ for Its Homepage URL

Dear readers,

Every once in a while well-meaning people get things wrong. And we did it last week when we predicted that David&Goliath would not pay a “ransom” for the URL davidandgoliath.com — which they’d been trying to score since way back in 1999 — to Dallas-based agency Slingshot.

We meant that the agency and founder David Angelo would probably not have to exchange an agreed-upon sum for the address since the whole point was to bring public attention to the Slingshot Foundation. But Angelo did indeed agree to make a donation to that group in exchange for davidandgoliath.com. According to the press release (of which there was one), the negotiations ended yesterday.

The project’s official Twitter account seemed to joke about this fact, tick tock.

Thankfully, we can now confirm that all’s well that ends well. The parties involved somehow managed to come to an agreement, and the URL in question will lead to David&Goliath’s homepage at some point in the near future:

“Over the weekend, Slingshot founder and CEO Owen Hannay connected with David Angelo to discuss the terms of the exchange. Mr. Angelo happily made the contribution and got his precious URL.”

Angelo even went so far as to give slingshot a quote for the story: “Kudos to Slingshot for coming up with a creative, inventive and very funny way to get our attention. After 17 years, we can at last reunite with our beloved URL. We had a great time playing along this week, and in the spirit of good will and love, we will of course be donating to the Slingshot Foundation.”

Slingshot ECD Susan Levine said, “We knew this would be a risk, not only the whole hostage angle but prominently displaying Jordan’s chest hair for the world to see – that was down right scary. But seriously, we’re thrilled that David played along and we could help our charitable foundation.”

Here’s the last video, depicting a URL finally freed from its years of confinement to be with the agency it loves in sunny Los Angeles.

We have no comment on that one.

The series, which was shot and edited by Kevin Hamm of Slingshot’s in-house production team Varnish, starred that shop’s ACDs Jordan Dontos and Clay Coleman as “half wit hostage takers” who dared to torture a laptop “embodying the URL.”

Here is where we insert a plug for The Slingshot Charitable Foundation, which was established in 2010 to develop childhood learning programs in the greater Dallas and Austin areas.

Our only questions: how did this really happen? And how much does a URL go for these days?

WPP Dodges Claims That Gustavo Martinez Will Run a Dedicated Nestlé Unit

Someone is spreading rumors about Gustavo Martinez again, and not in the nice way.

This morning, Campaign reports that unnamed sources said Martinez will lead a WPP unit dedicated to servicing the Nestlé account as soon as his current legal issues resolve themselves.

A WPP spokesperson declined to discuss this specific claim in a statement to us this morning. At this point, the news essentially amounts to three sources telling conflicting stories. A couple of things are clear: the embattled former JWT chairman and CEO no longer works for that agency, and the harassment case filed against him by global PR chief Erin Johnson back in March continues to work its way through the court system with no end date in sight. He is, however, still actively working for WPP clients in some capacity.

An anonymous mole told Campaign that “Martinez [is] being lined up to run a dedicated WPP team for Nestlé ahead of an expected resolution in the lawsuit.” Another source “close to WPP” denied this altogether.

WPP’s official statement doesn’t directly address the former source’s claim; it simply summarizes his current status.

“Gustavo Martinez and his family have left the United States and moved back to Barcelona. Pending the result of the court case he is working on projects in Spain and Latin America. Erin Johnson continues to be employed at J. Walter Thompson.”

The holding company spokesperson did not elaborate on the nature of those projects, though they would seem to indicate that Martinez continues working for the WPP organization despite not having an official title at the moment. And while Johnson is still technically employed by JWT, multiple sources tell us she has not been involved in the agency’s operations since filing the suit more than 5 months ago.

Meanwhile, her case continues to progress in fits and starts. In late May, WPP’s legal team moved to have the case dismissed and Johnson’s lawyers filed a memorandum in opposition in the first week of June. Last month, the parties traded letters regarding WPP’s claims that Johnson’s own statements invalidated her case, and just yesterday Johnson’s firm of Vladeck, Raskin & Clark filed another letter requesting a conference with the opposing team.

This latest document essentially states that Johnson has satisfied prior requests made by WPP and that her team wants to move forward with the filing of a second amended complaint in order to “avoid unnecessary motion practice”; the document then reiterates the original, extensive summary of Johnson’s claims against Martinez.

For those who do not speak legalese, this is an attempt to push the case toward resolution, either by way of a settlement involving “compensatory and punitive damages” or the full jury trial that WPP understandably seems eager to avoid.

David&Goliath Will Probably Not Pay Ransom for Its ‘Hostage’ URL

In case you missed it earlier this week, a Dallas-based agency called Slingshot has been playing a limited time prank on David&Goliath. We wouldn’t call it mean-spirited. It’s more … mischievous.

Right now, davidandgoliath.com looks like this:

david angelo

Here’s the first in a series of daily videos from Monday.

The new season of Mr. Robot is kind of uneven, but you have to stick with it until the big reveal! Now, a brief Panda Mask Explainer.

They are really into this, we can tell.

As promised, they’ve released a video every day this week and brought it to David Angelo’s attention via the social media. According to some sources on the inside, uh huh, they want him to donate an unspecified amount to their charitable foundation, or else the website gets it.

THE BACKSTORY: For reasons that are no longer a deeply held secret, the URL davidandgoliath.com never belonged to the agency Angelo launched in 1999.

As we hear it, Slingshot could not secure its own preferred URL when it first opened more than 20 years ago. Since this particular shop’s narrative was all about taking on The Big Guys, its principals went with davidandgoliath.com hoping that slingshot.com could eventually be theirs.

David&Goliath came to be four years later and, according to our extra-secret sources, Angelo has been angling to score that URL ever since. But since slingshot.com was not yet available to facilitate a trade, D&G has had to make do with dng.com for the past 17 years.

That all changed when Slingshot scored their own dot com and proceeded to leverage the existing URL for maximum effectiveness and, possibly, media coverage.

Our colleague Tim Nudd reached out to Angelo before running his Tuesday post, and Angelo hasn’t responded. He did, however, get back to Slingshot via D&G’s Twitter account yesterday:

We agree that love is way better than hate in the long run. But sometimes, in the moment, hate can be kind of fun, says the internet. See: Trump, Donald J.

LOL. A Slingshot spokesperson wrote: “Since Tim’s Adfreak article on Tuesday, we’ve had a great back and forth with David Angelo and his agency through Twitter. Their strategy is to shower us with love. We prefer they shower us with cash.”

This madcap caper will end tomorrow, and we hear that some URLs may change hands in a spectacular display of generosity.

But we feel like maybe Slingshot should distance itself from the Foundation. Not that there’s anything unethical going on there, but when you’re such a publicly visible figure running a national campaign, even the slightest implications of impropriety can be very damaging. Or so we hear that many people are saying.

White British Non-Rapper Encourages Startup Founders to Follow Their Dreams Like He Did

We get some unusual pitches here at the Spy, many coming from smaller shops and/or creatives who just want to get their work out there in the world, angry comments and all. We had to post on this one just because it’s so … odd, for lack of a better word. (Plus, Michael Phelps has recently reminded us that Eminem is still a thing.)

A British company called Jimmy’s Iced Coffee which makes that very product launched a new campaign this week in which its founder Jimmy Cregan raps all about how everyone—including frustrated ad creatives who might be questioning their career choices at this very moment—should really just follow their dreams, damn the torpedoes.

Take a gander at this clip from the self-described “coffee Mad Max” and tell us what you make of it.

That was a little long and possibly awkward. So we’ll summarize: Jimmy went from surfing to making coffee and rapping, so anyone can do anything!

From the press release: “The rap sees Jim channeling Eminem in Eight Mile (if Eminem made FMCG drinks and lived in Bournemouth instead of Detroit.)”

Indeed. The work was “created by innovation consultancy Fearlessly Frank and produced by Deadbeat films,” and it is “in keeping with Jimmy’s continual use of marketing innovation to inspire and raise awareness of the brand.”

What, you didn’t realize he’d done this before?? From 2015:

Take note, strategists: the “Dorky White Guy Rapping” angle isn’t just a sadly dated joke in Adam Sandler movies. It can still be used to move some product.

So, more of this?

U.K. Agency Sneaks into Grey, Saatchi, W+K Seeking a New Creative Director

Don’t Panic is an indie shop that describes itself as “the most awarded creative content agency in London,” with clients including Greenpeace, UNICEF, Sky 4 and several awards shows like, say, the Cannes Lions.

The agency needs a new creative director but didn’t want to do things in the usual, boring way — so this week some staffers to dressed up as couriers and made their way into the offices of five prominent London agencies (W+K, Grey, Saatchi & Saatchi, Lucky Generals and Mother) to leave their marks in the form of … a job listing. Printed on paper with the little slips like someone advertising their services as a babysitter or dog walker.

And of course they made a video, dummy. These Saatchi folks didn’t even know what was coming!

Seems like an exciting, spy-ish adventure. Or maybe that was just the music.

don't panic saatchi 2

The message for Saatchi was oddly specific:

“Wanted: Creative Director / glass ceiling remover. We have room for another Creative Director to move in to our team! If you are clean, sociable and can give us a hand smashing the glass ceiling, send us your CV and portfolio and let’s chat. Apply below…No couples please.”

Did they just specify Ladies Only?

don't panic wk 2

From the main listing:

“We have room for another Creative Director to move in to our team! If you are clean, sociable and don’t mind the odd late night sesh, get in touch…No couples please.”

We kind of assume that “odd late night sesh” means you will be working until 8 every weekday.

So far there’s no word on how successful this guerrilla staffing campaign has been, but who could resist such a charmingly executed offer??

Australian Agency Tells Sri Lankan Applicant That It Already Has Enough ‘Brown People’

As embarrassing as some of the recent controversies surrounding women and people of color in American ad agencies have been, a story from Australia this week pretty much takes the fucking cake.

Dana McCauley of The News rightly asks, “WHAT is it with advertising agencies this week?” in reporting on an incident that occurred at Banjo, an independent agency based in Sydney that scored coverage in Adweek back in 2009 for a PSA that compared bowel cancer to a terrorist attack.

Freelance account director Surungi Emily Hohol was interviewing for a job at Banjo when, according to a Facebook post quoted by The News, an unnamed senior executive said the following:

“The client might be alarmed by having three brown skin people attend a meeting.”

This executive meant to say that, because the agency already employed two other “Indian” staffers, it would not be offering Hohol a job. (She is Sri Lankan.) It’s unclear whether this individual was referencing a specific client.

After seeing the post, agency managing partner Andrew Varasdi called an emergency meeting and spoke directly to Hohol. The agency now claims—again according to The News—that this was a “light-hearted” joke that led to “an unfortunate misunderstanding.” The agency offered a formal apology and stated that, while the executive in question has not been disciplined, he/she is “deeply upset” and is currently receiving some form of counseling.

The statement also read:

“The senior staff member, who conducted what was a very positive interview, made a casual remark at the end of the interview, which was intended to set the person at ease. Unfortunately it was taken out of context and has since gained some notoriety on social media.”

It’s unclear how this comment could have possibly been intended to make Hohol feel “at ease” given that it meant she would not be getting the job.

Banjo went on to say that it employs a diverse array of talent, adding: “We hope that we will be judged on our record, and that all candidates who consider joining us at Banjo will do so too.”

We have reached out to Hohol on Facebook and will update this post if we hear back from her.

Animator Accuses McDonald’s and DPZ&T of Ripping Off His ‘Crazy Cows’ Video

Don’t say Twitter isn’t good for anything. Earlier this week we came across a tweet from U.K.-based animator Cyriak Harris that appears to depict a McDonald’s ad next to a video made by Harris.

The similarity between the two is quite striking.

We reached out to Harris, whose work has appeared in ads for Coca-Cola, Trident and others over the past few years.

He wrote, “At this point all I know is that there is a video on the internet that appears to be a McDonald’s advert, which is clearly based on one of my own videos. It was brought to my attention on twitter, including a link to a forum thread supposedly by the creative behind the advert, where I was cited as the ‘reference.’”

Here’s the original video, which went live in 2010 and has more than 35 million YouTube views. Harris described it as “surreal bovine choreography.”

He also sent us the link mentioned above.

It leads to a tech forum in which Leandro Pedrouzo — who is co-owner of Buenos Aires production company Juan Solo — wrote three days ago that the Harris clip was “the reference for this Spot,” adding, “The director and I wanted to go a bit more realistic but the client loved the ref.”

The ad was run by Arcos Dorados, the Latin American version of McDonald’s, with creative by Sao Paulo, Brazil agency DPZ&T.

The agency hasn’t responded to an email we sent this morning, but they did get back to USA Today after Arcos Dorados took the ad down (BuzzFeed U.K. also covered the story yesterday). An agency representative pretty much denied the ripoff, claiming that the Harris clip was used “with numerous other works as a reference for the production of the spot” and that this is common practice in the ad industry.

The spokesperson then acknowledged that the clips were similar and promised that the production house would respond to Harris’s claims.

Today Harris told us that neither Juan Solo nor McDonald’s has gotten back to him. He wrote, “That’s not unusual for me, but it is quite unusual to be copied so directly like that.”

A Hidden Scandal: Agency Discrimination Against People Over 50?

In a very, very bold experiment, we are going to post on a comment on someone else’s blog today.

You may have come across Digiday’s story yesterday arguing that — contrary to the words of certain professional thought leader — the dearly departed Kevin Roberts had a point. From that post: “Depending on how it’s framed, one can actually make the case that the gender debate is, in fact, “over.’”

Shareen Pathak was not arguing that everything is equal and perfect and happy in agency land — only that the offenses underlying this debate are a little less obvious than they used to be. (We did love the line “And also there’s a new wave I think where men are feeling threatened by modern feminism and are starting to feel insecure.”)

Anyway, a comment on the story from “NJ” got our attention. It reads:

One of the key issues is that agencies discriminate against older women in management more than older men. I was “made redundant” aged 50 by JWT, as were almost all women I worked with over the years as they entered their 50s (and it still goes on, as almost nobody can afford to go up against WPP and similar powerhouses in court). Age discrimination is rife against both genders in UK agencies, but is rarely mentioned in any discussion of diversity, despite the ageing population and the fact that most of any brand’s buyers/users will NOT be young. But older women are particularly punished for not being young and beautiful any more.

We’ve heard about this practice before. For example, when we posted on Publicis restructuring its New York healthcare agencies back in March, we heard from several employees who told us that the oldest employees were the first to go. Oh, and remember when a certain Colorado agency made some top-level cuts last summer? We heard the same sort of thing then, too.

This sort of approach is hardly limited to the ad industry. For example, when The New York Times announced that it would be making cuts in order to maintain its financial viability back in 2014, departures included many of its most senior staffers like the one who covered the ad industry for 23 years.

The practice makes sense: senior employees within all sorts of organizations often have higher salaries and, in many cases, are a bit less hungry than their younger colleagues when it comes to the Hustle. In the interest of efficiency, it would make sense to let them go, right?

Sure. But we’ve seen a whole hell of a lot of comments on this blog ranting about how hard it is to get good gigs as a 50-something within the agency world, and this doesn’t just apply to creative departments.

So let us know what it’s like. The anonymous tip box is on the right.

Publicis Places Saatchi Chairman Kevin Roberts on Leave of Absence Over Diversity Comments

A quick summary of the weekend’s events surrounding Saatchi & Saatchi global chairman Kevin Roberts, in case you missed it:

On Friday, we wrote about Roberts’ London interview with Kara O’Reilly of Business Insider. In that conversation, he made some controversial statements about gender issues in advertising, essentially saying diversity in terms of male/female leadership was no longer an issue and that he doesn’t spend “any time” on such matters at his agencies. In his own words, “The fucking debate is all over.”

He went on to dismiss some who campaign on the issue, listing Cindy Gallop in particular as having “problems that are of her own making.”

Various parties seemed thoroughly unimpressed by his comments, and the situation escalated quickly.

Early Saturday morning — after the BI post ran and we aggregated it — Publicis Groupe CEO Maurice Levy sent an email to Campaign in which he wrote: “The opinion expressed by Kevin is neither shared nor supported by myself or the Groupe. It is his own, expressed in his unique and provocative way and does not reflect the Groupe opinion or policy.”

Kat Gordon of the 3 Percent Conference then told Adweek that her group’s own research disproves Roberts’ points, stating, “I can say with complete statistical backup that Mr. Roberts is wrong about gender bias being solved in the ad world.”

12 hours later, Roberts was pushed out of his position — at least temporarily. On Saturday evening, Publicis PR sent a statement to Adweek and others about the decision, explaining how Publicis Groupe Chairman & CEO, Maurice Lévy had also sent out an internal memo distancing himself from Roberts comments and reiterating the holding company’s “no-tolerance policy towards behavior or commentary counter to the spirit of Publicis Groupe” and its commitment to diversity. Roberts’ long-term future with Publicis and Saatchi & Saatchi will ultimately be determined by the Publicis Groupe Supervisory Board. 

Adweek then reported that Saatchi & Saatchi CEO Robert Senior also released a statement disavowing Roberts’ comments. “Kevin has given what are his personal views on the subject of gender diversity. However, those views are not mine, and nor are they the position of the agency,” he said. 

“Saatchi & Saatchi is, and has always been, a meritocracy. We live and die by our people, our talent, and it makes no difference to us whether that talent is male or female,” he continued, adding that 65 percent of the agency’s staff are female, including senior leadership roles.

“However, the issue of gender diversity is not in any way over for our industry. It is live, emotive and vital for the communications business that we continue to insist that the best people, whatever their gender, are able to achieve their potential,” he added. This is what we strive for at Saatchi & Saatchi, and is what we will continue to strive for alongside all of the best agencies in our industry.”?

Mr. Roberts himself has yet to make a comment on this story.

Here’s Publicis Groupe’s full statement:

Following the comments made by Saatchi & Saatchi Executive Chairman and Publicis Groupe Head Coach, Kevin Roberts, in a recent interview with Business Insider, Publicis Groupe Chairman & CEO, Maurice Lévy addressed a statement internally to all Publicis Groupe employees to reiterate the Groupe’s no-tolerance policy towards behavior or commentary counter to the spirit of Publicis Groupe and its celebration of difference as captured in the motto Viva la Difference!

It is for the gravity of these statements that Kevin Roberts has been asked to take a leave of absence from Publicis Groupe effective immediately. As a member of The Directoire, it will ultimately be the Publicis Groupe Supervisory Board’s duty to further evaluate his standing.

Diversity & inclusion are business imperatives on which Publicis Groupe will not negotiate. While fostering a work environment that is inclusive of all talent is a collective responsibility, it is leadership’s job to nurture the career aspirations and goals of all our talent.

Promoting gender equality starts at the top and the Groupe will not tolerate anyone speaking for our organization who does not value the importance of inclusion. Publicis Groupe works very hard to champion diversity and will continue to insist that each agency’s leadership be champions of both diversity and inclusion.

Blind Items: Paid in Pennies; You Win, JKLOL; The Real Agency Spies

Oh hi, readers struggling through the trials and tribulations of working in that industry we call advertising. You having a good week so far? Cool. We’ve got some good ones for you today.

  • First, a tale that has become something like an urban legend around these parts. According to many, many sources who have repeatedly asked us to post on this, a certain agency that may or may not be located on the West Coast of these here United States (allegedly) paid its debts to a departing employee in the most inconvenient way possible: with pennies. Millions of pennies. As we understand it, an art director left this shop for another job a few years ago, but at the time he made the announcement he had yet to be paid for his last few weeks of work. As multiple people tell it to us, the agency’s founder and CEO went to the trouble of turning the $5,000 they owed him into five million pennies, which they proceeded to place in a series of boxes. They then watched him as he removed these boxes one by one and took them out of the office to his car. We have no word on where this art director went, but one has to assume that his next job was a better fit. We certainly hope so.
  • Our next two blind items concern bad behavior on the client side. First, we hear that a certain company best known for making the sorts of things one might put atop an ice cream cone is a little indecisive. Said company recently launched a digital agency review, and we hear that the client agreed to award its business to a certain New York-based digital shop owned by a certain massive holding company. But — like a kid who suddenly decides that he didn’t want sprinkles on his cone in the first place and proceeds to beg his mom to pick them off — the client pulled out and reneged on its offer in the middle of negotiations. Now, who wants to work on that account?!
  • Finally, we have a very interesting item today regarding some IRL agency spies. We hear that a certain company that may or may not produce automobiles is losing confidence in the agency that works on its business. This company is so concerned about sustaining a healthy agency-client relationship that it has begun sending staffers to monitor and photograph the agency’s parking lot so as to record employees arriving to the job after 9 AM. In fact, a source tells us that the client has gone so far as to present agency leaders with photos of unnamed team members showing up late to work as a formal complaint about morale. In response, we hear that the agency cancelled its Summer Friday program, because strong relationships are built on a shared sense of trust.

Kentucky for Kentucky and 1 Dead Bear Remind Us That Cocaine Is a Hell of a Drug

ICYMI, local TV can get pretty weird.

Kentucky for Kentucky, the project launched by agency bros Whit Hiler, Griffin VanMeter and Kent Carmichael to promote their home state, released a new ad that attempts to “push the medium without having to pull the ejector seat,” a la Tom Cruise in Top Gun.

KY for KY, which sells “Y’all” t-shirts and shot glasses with “Bourbon only” instructions (not really), has released a series of projects related to beards and ass-kicking in recent years.

The latest one is an ad for themselves (or, rather, their new retail space, CHECK IT OUT) that they tried to place on four different local stations in their native Lexington. The first three said no thanks to the cocaine reference and the F-bombs, but local NBC affiliate WLEX-TV somehow agreed after cutting out whatever fucks it had left to give.

The result is kind of like Tim & Eric dropping a few hits and wandering a little too far below the old Mason-Dixon line with the help of local prod co Kong.

As the kids say, Shit Be Cray. From Mr. Hiler himself:

“We felt the need, Goose. The need for speed! Kind of like that YouTube show Will It Blend?, we wanted to play Will They Air This? and make something so off-the-wall ridiculous that most local stations wouldn’t want to touch it. And they definitely didn’t.”

A corresponding blog post details how those stations said no in colorful ways. One called it “a little edgier than we typically see,” while one asked, “Can you do something (hate to say it) without the **** yeah ya do!”

Anyway, the ads will air during the late-night shows and SNL. The dudes even added “Digital Short” to the beginning of the one that will air on lonely, half-drunk Saturday nights, just to further confuse their fellow Kentucky residents.

About the stimulant-loving carnivore: It was a real bear that died after consuming a veritable shitload of The White Stuff that had fallen from the plane of a local drug smuggler.

We might ask whether these guys will ever win KFC, because we’d kind of like to see what they might do for the Colonel after they make sure to get rid of Norm Macdonald. But why the hell would they want that account anyway??

Portal A Spoofs Tronc Media’s Horrific Employee Video

You guys remember the announcement about the formation of Tronc, the entity formerly known as Tribune Publishing which proved once and for all that media people can come up with shitty names just as well as ad agency folks.

Along with that nonsensical name change came a video … and what a video it was, dear readers. It’s the future of content if by “content” you mean soulless, uninteresting crap.

This is real and it is terrifying. Hide your children. Hide your pets.

Tronc may have anticipated everyone and his mom talking shit about that effort, because they disabled the comments on YouTube. But the takes still poured in hot and fast.

Enter Portal A, the content production unit you may know for its spoof of that TBWA Airbnb ad and its own campaigns like this WTF? group dance effort for Lenovo. (That budget, though.)

In another attempt to bring attention to its own production capabilities, Portal A has created a spoof of the above attempt to convince someone that the automation of journalism is upon us. It’s appropriately titled “TRONC: What the ACTUAL fuck.”

See, we find the same things insufferable!

In case you didn’t get it, this is part of the Ad Hoc project, which is a sort of side thing that Portal A uses to promote itself by making fun of the work of others. The most successful Ad Hoc video to date mocked Dove’s “Real Beauty” campaign.

As managing director Zach Blume puts it, “The AdHoc channel is a chance for our team to let loose, flex our comedy chops, and have some fun with the ad industry. We get to see the lighter side of the space every day, and these videos are a perfect outlet for that.”

Regarding the project in this post, he writes, “When we saw the Tronc video, we knew we had a Hall of Famer on our hands. We counted dozens of indecipherable buzzwords in a span of 90 seconds. Inspiring stuff. We began riffing on a script the moment after we stopped scratching our heads.”

We will now quote a character from a television show: “This is ripe for parody. This is ripe!” Good thing there are no thin-skinned people in the creative advertising or media industries.

Goodby Silverstein & Partners Has Some Thoughts to Share on Donald Trump

What, you’re tired of “statement of principles” work responding to the presidential candidacy of one walking caricature Donald J. Trump? Sad!

We’ve had 180LA and 360fly mocking “The Wall.” We’ve had some proudly anonymous creatives urging Young Folks to vote against The Donald in the primaries (didn’t work). We’ve had TDA_Boulder calling a spade a spade and barrettSF playing with poop.

Now, Jeff Goodby and Rich Silverstein (along with audio engineer Nic Dematteo) have some surprisingly somber thoughts to share on the rise of the man who always makes the best deals … excepting his hostile takeover of the Republican Party. Can you guess how they feel about the son of an (alleged) Klan member from Queens?

You know, we did kind of see this coming. The idea of an agency that defines itself as “art serving capitalism” endorsing a neo-white nationalist with no interest in expanding his appeal is kind of like … Occupy Wall Street endorsing Goldman Sachs. Good one!

An accurate description of Trump’s day job is “ENTERTAINER/real estate mogul,” emphasis ours, and it has been for some time. Does anybody honestly think he would have lasted as long as he did without The Apprentice and The Birth Certificate?

Goodby says, “We wanted to put Donald Trump’s antics in clear relief for all the world to see and remind them that our president is the leader of the free world, the person with a hand on the nuclear button. That person should not and cannot be Donald Trump. Just look at him.”

We are skeptical as to whether this project will encourage any disinterested Americans to vote, but is that even what it’s about? It’s less a “PR stunt,” as we see it, than a chance for Goodby and Silverstein to let some people know how they feel. And they do carry a bigger megaphone than most of us even if Trump’s influence dwarfs their own.

If you’re interested, Jeff shared his thoughts on the Democratic candidates’ campaign ads with us back in February. Now let’s see what Droga5 and Venables Bell & Partners can do for Hillary in her new role as a “challenger brand.”

Can America just fucking vote already and get this over with?

Energy BBDO Showcases ‘Roach Art’ in Latest Raid Spot

We’ve seen “Dead Mouse Theatre” so why not “#RoachArt?” Energy BBDO worked with Vault49 artist artist Jonathan Kenyon to create a series of three billboards made entirely out of, yup, dead cockroaches for insecticide brand Raid.

Kenyon’s creations show a roachy grim reaper riding a jet, motorcycle and monster truck (we think). Each contains the message “Kills 7X Faster” with the speedy vehicles meant to convey the brand’s homicidal expediency. As Kenyon explains in the video below, larger roaches were used to outline the pieces, while smaller roaches were used for finer detail. Working with the information that a roach infested house can have up to 20,000 roaches, each piece of art contains around the same number. Neat!

While most will find the concept disgusting, it’s also attention grabbing and not something you’re likely to forget soon. In fact, the approach may gain the brand a little free media by making an appearance in viewers’ nightmares. Raid isn’t the first brand to toy with such a morbid and gross concept, as the aforementioned “Dead Mouse Theatre” saw Barton F. Graf repurposing mouse carcasses as theatrical puppets and, more recently, BBDO Russia created miniature portraits out of mosquito blood. Adweek calls the OOH pieces “strong contenders for the most disgusting ads of 2016.” 

That’s tough to argue, although Rules Creative Taiwan’s intern recruitment effort is certainly a contender as well. 
roach-art-hed-2016

Female Creative Director Isn’t Going to ‘Lean In’ Anymore

We’ve all heard quite a bit about sexism in the ad industry, and for good reason. But we haven’t seen too many first-person testimonials that go beyond generalizations to discuss what this sort of attitude looks like in practice.

Enter Lisa Leone, a freelance creative director who has worked at Leo Burnett, JWT, BBDO, Y&R, Havas, Ogilvy … pretty much every major agency in the Chicago area.

Yesterday, Leone published a Medium essay titled “Ad Girl, Interrupted.” It’s pretty much a must-read. In case you’re ready to be skeptical, she opens with a critique of the Lean In and 3 Percent Conference movements, writing: “As far as I could tell, ‘Lean In’ was just another BS topic fueling Ted Talks and viral videos that sound swell but don’t play out in reality.”

Then, back to that reality: “I’ve spent almost the entirety of my career trying to hide the fact that I’m female.”

Leone notes that she has long declined to work on “lady projects and brands,” a sentiment mirroring our recent conversation with Jaime Robinson and Lisa Clunie of Joan. And many have called her “difficult,” a word that will sound all too familiar to plenty of women who don’t work anywhere near the ad industry.

Like so many others, she was told not to make too much noise. To “Lean In,” if you will. Here are some of the incidents she recounts:

  • “My partner and I produced a very successful campaign. I was equally responsible for the success. He was promoted. I was not.”
  • She once made the very reasonable request that her boss stop looking at her chest so she could ask him a question. He said, “I’m sorry, I just can’t.”
  • Her creative partner “confided” that he would like to sleep with her and she declined. Said partner then went to their boss to break up the team.
  • A creative director once began adding “group” to the beginning of his title despite the fact that he had not been promoted. Bosses found this so amusing that they went ahead and gave him the promotion.
  • While applying for a job, she was told: “Your work is amazing. But we’re just not looking for female creatives at your level.”
  • A (female) GCD told Leone’s (female) creative partner that she “can be a bully.” Her (male) boss then told her to confront this individual, which she did. The resulting mess led her to resign.
  • She was literally told not to talk or ask questions during a pitch.
  • “On the one hand, the day rate was pretty good. On the other hand, the day rate was 30 to 100% less than my male counterparts.
  • An agency president, discussing an agency CEO: “He already has a wife. He doesn’t need another one. Stop nagging him.”

This is all completely awful. But it keeps going–and if anything, it gets worse.

  • “Recruiters thought I was the best candidate for an ECD position and enthusiastically presented me to a big shot global CCO, who replied that he’d never heard of me. They hired an equally-nameless male creative instead.”
  • “Was told by an agency recruiter to expect an offer letter in the morning … a former (male) boss whom I had not worked with for over 15 years casually told the (male) head of the agency that hiring me would be a mistake because I was difficult. Never heard from them again.”

Such incidents are both depressingly predictable and still kind of shocking in their absolute dickishness.

Leone’s understandable response is, essentially, “Fuck this bullshit.” She writes, “I’m a kick-ass creative who does wonders for brands and writes content that makes human beings smile, who also happens to be female.” And she’s pretty tired of acting like that’s not the case.

Leone concludes that she’s still skeptical of the “Lean In” approach, because women everywhere have been leaning for some time. She then encourages others to do what she did and speak out about their experiences.

Will this happen? A few years ago we would have said no, but our tip box is always open.

Jonah Hill Stars in MPC Creative’s Awkward, Intentionally Bad Reebok Spot

This is a strange one.

MPC Creative teamed up with Jonah Hill and directors Stuart Bentley, Stuart Hammond and Lev Tanjufor for this intentionally bad spoof spot promoting London-based skateboarding brand Palace’s collaboration with Reebok. Full of very obvious green screening, dub fails and an entirely unenthusiastic delivery from Hill, it’s actually pretty funny.

“What’s up? I’m here in sunny London,” says Hill at the beginning of the spot, unconvincingly green screened in front of a Palace store. He talks up the store’s atmosphere and has a few awkward interactions with fellow skaters before getting to the main point: “these dope new sneakers that they made in collaboration with some sportswear company called…Reeboke.” The first part of Hill’s description is bleeped out after the word “These,” but then returns for the line “while having the most amazing sex with a rare white tiger on your birthday, and it’s also his birthday as well.”

Intentional lack of enthusiasm aside, Hill actually “grew up skateboarding in L.A.” and is a big fan of the sport (and presumably the brand as well) which lends some authenticity to the intentionally inauthentic performance. Whether or not viewers are clued in to that, though, the spot’s humor is undeniable.

It would be a hard approach to pull off without the right performance and Hill’s spot-on deadpan makes the ad. If advertising doesn’t work anymore, this kind of clever un-advertising (or whatever you want to call the sarcastic approach) may be something we see a lot more of soon.

Agency Recruiters Still Don’t Seem to Understand This Whole ‘Diversity’ Thing

Everyone who works in advertising—and quite a few people who don’t—has heard something about the industry’s diversity problem. Clients want staffers who can better sell stuff to a public that is diversifying by the day, agencies want their internal teams to better represent that reality for new business purposes … you know all of this.

But people still can’t seem to avoid doing the very things they’re not supposed to do. Take, for example, this recent LinkedIn job post from an experienced creative recruiter who works for a fairly well-established agency in one of our country’s largest cities.

HISPANIC

There are several things wrong with the post, first being the insinuation that only Hispanic people can “understand the Cuban culture.” This statement very roughly translates to “We want to hire someone who speaks fluent Spanish,” and there are plenty of people who qualify. Some of them may not even be Hispanic!

Going out on a rhetorical limb here, we have to believe there are some copywriters around who speak Spanish, know a good bit about Cuban culture and responded to the tone-deaf description above with a hard eye roll.

The fact that the recruiter chose to write HISPANIC in all-caps also implies that the agency will only consider candidates of Hispanic origin for this job. That would seem to directly contradict Title VII of the Civil Rights Act of 1964, which “prohibits employment discrimination based on race, color, religion, sex and national origin.”

Maybe next time the agency should just ask for someone who has watched every Bourdain episode set in Cuba.

Grey Officially Returns ‘I SEA’ App Lion, Clearly Isn’t Happy About It

Today Grey Worldwide released a statement announcing its plans to officially return the Cannes Lion it won for “I SEA.”

For a quick recap, Grey Singapore created the app in partnership with an organization called The Migrant Offshore Aid Network, which aims to help individuals attempting to leave war-stricken countries by sea. It also partnered with “e-Geos Satellite Imaging Company” to develop the app’s functionality.

The problem, as you probably know, is that it didn’t work. Various tech bloggers raised concerns after downloading the app; at least one called it “fake,” and Apple removed it from the App Store the very day it won a Promo and Activation Bronze Lion.

Apparently, various parties kept up the pressure on Grey to denounce the project entirely. Yesterday, a man named Ali Bullock who calls himself a “Social Media Author & Speaker” and works as manager of sponsorships and social media for Infiniti Formula One in Hong Kong published an inflammatory LinkedIn story on the subject headlined, “Why I will never hire Grey as an agency in my lifetime.

In the post, he called the app “a travesty” and said that he would never consider working with Grey in any capacity until the network returned the award.

He then included an image of what appeared to be a drowned migrant child and wrote:

“Grey won an award off the back of this. Did the champagne and caviar have a salty taste as you celebrated your win? Imagine the salt consumed by people drowning… A truly horrid way to die. And how many died while you partied away in Cannes? Hundreds, thousands? I guess we will never truly know as your app was a load of bullshit. Oh wait, it was in testing… Sorry, my mistake.”

Bullock claimed that Grey did not have the charity’s permission to promote the project. This is consistent with claims from the M.O.A.N. org, which told U.K. tech blog The Register that “the app probably sounded interesting in concept form but failed miserably in execution. We were asked to support the launch of the app in concept only.”

Bullock then moved into some light hyperbole, writing, “This is possibly the saddest moment our industry has faced.” This morning, Grey sent Adweek a statement announcing its plans to essentially do what Bullock demanded and return the award.

“During Cannes we said the app was real and its creator, Grey for Good in Singapore, is a highly respected philanthropic unit that has helped numerous non-profit organizations. Moreover, Grey is one of the most creatively awarded agencies in the world with the highest ethical standards. We won over 90 Cannes Lions this year alone so there is no need for scam projects. However, given the unwarranted, unfair, unrelenting attacks by unnamed bloggers, we are putting an end to this and returning the Bronze Lion so there is not even the hint of impropriety or a question of our integrity. The saying no good deed goes unpunished is apt in this case.”

This statement appears, at least in part, to be a response to Bullock’s piece and others written by various press organizations. The story was big enough for The New York Times to cover it on the day Apple removed I SEA from the iTunes store and before the Cannes award became an issue.

It is not clear at this time who the “unnamed bloggers” might be. Grey did acknowledge last month that the app was not yet functional when the case study video was made and the Cannes submission completed. It’s unclear whether work on the project will continue.

Grey’s statement strikes us as surprisingly defensive given that spokespeople have repeatedly admitted that the app never worked as advertised. We also hear that the network’s creative leadership was very upset to learn that such a project had been submitted to the Cannes jury in the first place.

We will leave it to others to define the word “scam” in this context.

How Bad Was This Nivea Bird Poop Sunscreen Project, Really?

Usually, when you capture the attention of a prominent jury member at Cannes, it’s a good thing. But that’s not the case with this Nivea promotion from Jung von Matt/Elbe featuring a remote-control seagull shitting sunscreen called “Care From the Air” (Apparently “Turds From the Bird” was rejected).

Bartle Bogle Hegarty co-founder and Cannes Lion jury president Sir John Hegarty told a group of journalists at the festival, “One [campaign] we debated long and hard was the flying seagull from Nivea. Without question, this was one of the pieces that caught our attention.” As you can probably ascertain, that statement was dripping with sarcasm. 

“The big, big problem is kids on beaches don’t have enough sunscreen on. They run around and it rubs off. So they developed a [robotic] seagull that flies across the beach and basically shits suntan cream from Nivea. This is, as you can understand, something we had to take very seriously,” Hegarty added, before finally dropping the act and saying outright “It’s the most stupid thing I think I’ve seen in my whole life. I actually thought the Monty Python team had gotten together and entered it into [Cannes], to see if we would vote for it.” Ouch. 

Is the promotion really all that bad, though? Check out the case study below and decide for yourself:

As Hegarty explained, the campaign boils down to a remote-control seagull excreting Nivea Kids Sunscreen on unsuspecting children. The idea being that kids, who need sunscreen the most, are the least likely to use it. In the case study video, children run away when their parents try to apply the lotion but apparently their first inclination when hit with bird excrement is to rub it all over themselves. Kids, right?

While this isn’t a new campaign, it hasn’t received much promotion because, as the agency tells Adweek, “the PR department of the client doesn’t want PR for it, so we do not promote it.”

OK, we get that. And yeah, this case study is an execution of a mildly amusing idea that has zero potential for practical real-world applications. But, frankly, we see dumber things almost every day.