This Is the Most Disgusting Intern Recruitment Ad You Will Ever See

We’ve seen some pretty weird internship recruitment efforts in the past, but we think you’ll agree that this latest one from independent digital agency Rules Creative Taiwan, which launched last Friday, is the most directly disturbing.

In its search to attract recent grads for creative planning internships, the Taipei shop aimed a pair of recruitment ads depicting what appear to be blood-stained underwear and a tissue or rag full of semen to its 26,000 Facebook fans. “We hope if you like the idea,” PR wrote, “This project will have further opportunity to be displayed and gain further exposures on AgencySpy.”

And so it will.

Here’s the “Boy” version.

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And here is “Girl.”


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In a release promoting the recruitment campaign, the agency described the effort this way: “For these people, it might be the first full-time job they ever had. First job is like first period or first orgasm experience, it can be a confusing and exciting time for every boys and girls.”

Facebook translation provides a little (but only a little) more insight. For the “Girl” effort it reads, “Give me your first time as one thing” before mentioning the desire to “recruit new blood” and ending with the not-at-all creepy “We want to cherish you!” following the job description. The “Boys” version substitutes “We want to collect you! ( Uncomfortable).”

Indeed!

The note also appears to ask for each applicant’s current relationship status. If, at this point, prospective interns are still interested, the agency promises to “cherish their first time experience and try our best to help novice get through their rookie year.”

Based on the number of Facebook “feelings” and overexcited animal emoji responses to the posts, we have to believe that hundreds of aspiring area creatives would say, “Of course I’d love to intern at the jizz rag agency!”

Sir Martin Sorrell Says #Brexit Vote Inspired ‘Terror’ in WPP Offices

Today Sir Martin Sorrell claimed that internal polling at WPP predicted the results of last week’s “Brexit” vote, stating that “there was almost terror” among immigrant employees at the holding company’s European offices who feared that they might eventually be deported.

Britain’s vote to leave the European Union shocked Cannes attendees last Thursday as it did others around the world. While discussing the Titanium Lions the following day at a press conference, Sir John Hegarty of BBH was one of many to tell the crowd how disappointed he was in his country’s decision to forcibly remove itself from the EU. The stock prices of every major holding company dropped by an average of about 5% since the news broke, though some have recovered slightly in the says since.

Early this morning on the other side of the Atlantic, a group of top executives across industries gathered in an event organized by The Times of London. Two of those leaders were Rupert Murdoch and Sorrell–and while the event was not scheduled around “Brexit,” it was perfectly timed. Sir Martin had a good bit to say about the latest developments.

Regarding the world economy’s response to Brexit, a Goldman Sachs co-CEO said “there’s no panic.” Sir Martin seemed to disagree, stating that its implications in the short term were “quite serious.” He went so far as to compare the event to a potential Donald Trump presidency, stating that WPP and other businesses had no choice but to “keep buggering on” in the face of such disruptive developments.

One source who spoke to us in Cannes predicted that the financial fallout from Brexit will be particularly difficult for agencies based in the soon-to-be-former United Kingdom, with clients moving work to shops based in more stable economies like Sweden and Germany. Sorrell essentially agreed, telling the crowd this morning that the market/clients will “probably” develop some “bias against a British-based service company” moving forward.

Like many observers, Sir Martin also sees Brexit as a win for Vladimir Putin. He predicted a “new Cold War” and made a very specific and interesting claim about WPP

That means one of WPP’s properties located in the former Soviet Union move was somehow acquired by the Russian government. Sorrell apparently did not specify which one, but several WPP networks have offices in Russia including JWT, GroupM and Geometry Global. An earlier report claimed that the British action “forced” WPP to sell research group TNS Russia, which is part of Kantar Media, to the government.

Sorrell does not seem to have explained what he meant when he said that Brexit would create “opportunities.” And he remained very skeptical of the movement.

Murdoch, for one, later disagreed, stating, “This is like a prison break. We’re out.” He then went on to discuss American politics for some reason that is unclear at this time.

At this time, no specific changes in any holding company’s business have been tied to the Brexit vote.

[Image via Twitter]

BBDO Pulls All ‘Scammy’ Bayer Work from Festival

Yesterday, we wrote about a controversial Almap BBDO Brazil outdoor ad for Bayer aspirin, which received a bevy of criticism online for its perceived sexism. The ad in question read “”‘Don’t Worry Babe, I’m Not Filming This’.Mov” — seemingly referring to non-consensual filming. 

Earlier today, Adweek reported that Bayer has distanced itself from the work, claiming that Almap BBDO ran the ads with the sole intention of winning awards. Bayer also claimed that Almap BBDO actually paid for the ad to run in “limited placement” in Brazil itself, which the agency confirmed.

“The concept was presented to our local marketing team in Brazil by BBDO as one of several campaigns that the agency intended to submit for this year’s Cannes Lions festival,” Bayer said in a statement. “In order to meet the requirements for submission to Cannes, BBDO paid for limited placement in Brazil. Bayer has not advertised Aspirin through any channel in Brazil for several years. We have asked that BBDO discontinue any further use, dissemination or promotion of this campaign.”

“This was a proactive, local campaign idea that AlmapBBDO brought to and had approved by the local client in Brazil,” an agency spokesperson told Adweek. “The agency covered the cost of media. AlmapBBDO deeply apologizes for any offense caused and takes full responsibility for the creation of the work.” 

JWT CCO Ricardo John, who served as president of the Outdoor jury which awarded the ad, issued his own apology to the publication, saying, “The jury, which [included] seven women, did not feel that this campaign, when looked at as a whole, was offensive. Even so, as the jury president, I would like to apologize for those who took it as such.”

Upon learning of the chain of events, BBDO global CCO David Lubars asked Almap BBDO to withdraw all its work from the festival, which they did. 

“I learned last night that one of our very own agencies had a pretty scammy ad in the festival, and it won a Lion,” Lubars said from a Debussy Theatre stage. “I told them to return it. Because I don’t want that kind of Lion. BBDO doesn’t want that kind of Lion.”

“All Bayer work created by AlmapBBDO has been withdrawn from the Festival,” added a BBDO network spokesperson, in a statement. “The work was approved by the local client to be run in Brazil. However, the media was paid for by AlmapBBDO, which contravenes the Cannes entry regulations.”

The controversy follows an issue earlier this week in which another ad’s eligibility was called into question. Grey Group Singapore’s “I Sea” app was removed from the Apple Store for not working as intended shortly before winning a Promo and Activation Bronze Lion. The agency wrote in a June 19 blog post that the app “is currently in a testing mode” and will soon be fully operational. Yesterday Cannes Lion issued a press release confirming that it is reviewing the eligibility of the Grey Group Singapore entry. 

Company Behind ‘Attractive Women Only’ VaynerMedia Cannes Invite Has Been Doing This Sort of Thing for Years

The Cannes Lions crowd has been talking about the controversial “attractive women only” email blast sent out to various people who planned to attend last night’s VaynerMedia/Thrillist party featuring Wyclef Jean. Even Brad Jakeman of PepsiCo mentioned it in an OMD panel on diversity today.

Long after the story went live, though, the promotions continued: the 20-year old niece of a source’s friend was repeatedly approached on the Cannes boardwalk that day by aggressive promoters trying to give her VIP tickets despite the fact that the party’s sponsors told us that the guest list “has been closed for some time.”

This is standard practice for a certain type of party promoter–as is requiring that these VIP attendees to meet some unspoken physical standards, apparently.

When the story first went live, Gary Vaynerchuk said his agency was not directly involved in the hiring of the company in question, and a Thrillist rep wrote, “A third-party promotions company sent this email without us knowing.”

In a follow-up email, Thrillist CEO Ben Lerer described the company in question, iGetIn, as “a production group we’ve worked with multiple times in the past in the US,” adding, “This company then went on to hire several other companies to help with various aspects of the event. No one at Thrillist (or Vayner for that matter) knew anything about what this vendor was doing and we are clearly appalled by it.”

This may well be true. But the man behind iGetIn is hardly shy about the way he does business. Noah Flom is listed as the managing director of iGetIn, which is another name for Las Vegas-based “full service brand strategy and marketing firm” Ark Endeavors. On its homepage, the company notes that it specializes in “developing/marketing/launching/branding ‘cool’ product/services to the 18-34 demo.”

It also lists an impressive array of clients including Nike, Disney, NBC, MTV, Us Weekly, MillerCoors and Maxim Magazine.

ark endeavors

Flom was, in fact, a model and talent scout for Maxim magazine for well over a decade according to his LinkedIn page–and again, he’s pretty open about the way he operates. In a 2006 interview with that very publication that the company posted on its site, he had some interesting things to say about his personal tastes:

“[Some guys] want a looker they can tell what to do. I like smart, sexy, independent women because I’m surrounded by models all the time. I mean, 22-year old hot chicks are fun to hang out with, but like my grandmother says, at some point you gotta play with kids your own age.”

A few months before that story ran way back in 2006, someone reposted a party invite email sent by Flom and his associates under the headline “Maxim Super Sleazy” and noted, “it’s actually charming how these guys understand and embrace the utter shallowness of their undertaking.”

From that email:

“This is one of the hottest parties you will ever go to, and you’re only getting in because you’re a hot chick.

…don’t come starving for dinner, unless that’s the only way you’re going to look good in that mini-skirt or liquid latex outfit you have planned…then by all means, fashion is a bitch.

Be honest with yourself and us, because if [your friend] is not hot enough for us she won’t get in, then you will be faced with that unfortunate choice of leaving her in the cold while you party like a rockstar…

…even though you RSVPed and we added you to our exclusive list, we still retain the absolute right to refuse entrance to anyone we want. Sorry, this week we are shallow guys who only care about looks; this is our job and we like the money and the perks; don’t embarrass them or us.”

This is just the kind of company that Ark Endeavors happens to be. Here’s another interesting post whose author claims to be a woman who didn’t live up to the promoters’ physical standards.

This isn’t to say that Thrillist and VaynerMedia knew exactly what was going on with the email and the boardwalk solicitations. But anyone who chooses to work with Ark Endeavors can easily discern the way the company operates via a quick Google search. And as Lerer noted in his email, Ark has promoted Thrillist event for years along with those sponsored by such companies as Playboy, PayPal, Doritos, Crown Royale, Kaiser Permanente and Pepsi. On its homepage, Ark lists “[finding] atmosphere models and ‘filler girls’ for special events” among its services, and that’s exactly what it was doing with the Vayner invite email and IRL street “activations.”

The point is that no one involved in this story can believably plead total ignorance, and it’s pretty easy to guess that some people will inevitably find Flom’s business strategy off-putting.

Sexist Almap BBDO Outdoor Ad Wins Bronze at Cannes

An Almap BBDO Brazil outdoor ad for Bayer aspirin has stirred some controversy after being awarded a Bronze Lion at the 2016 Cannes International Festival of Creativity in the Outdoor category.

The ad in question seemingly makes joking reference to non-consensual filming of a sexual act. It depicts two boxes of aspirin with the text:”‘Don’t Worry Babe, I’m Not Filming This’.Mov” — the assumption being that it alludes to a video file. Yikes.

That such an ad would be approved in this first place is bad enough. That a jury at Cannes decided it deserved an award is truly an embarrassment. Attention is being brought to the ad, and the jury which awarded it, thanks to Cindy Gallop tweeting about it, as you can see below.

:Gallop Tweet Sexis Almap BBDO

In a follow-up tweet, Gallop added, “Don’t use this to sell aspirin, male-dominated ad industry, & don’t award it, male-dominated juries. #canneslions.”

Predictably, those who saw Gallop’s tweets reacted with disgust at the ad, as well as a mix of exasperation and disbelief that a Cannes jury decided it merited awards recognition. Of course this isn’t the first embarrassing incident involving sexism at the festival this year. Just yesterday, VaynerMedia and Thrillist received a fair share of criticism for a party invite intended for “attractive females and models only” which the agency attributed to third party events company iGetIn.

Mekanism Creatives Turned Their Managing Director Into the New ‘Crying Jordan’ Meme

The Photoshop hobbyists of Mekanism were at it again after Game 7 of this year’s NBA Finals.

The same (we think?) creatives who turned the open-armed pose of CEO Jason Harris into everything from a Michael Jackson cover to a Sailor Moon cartoon a couple of years ago went a bit overboard in having some light fun at the expense of of San Francisco EVP and general manager Mike Zlatoper.

Like many agency folk who don’t happen to be in France this week (and some who stayed up til 5 AM to watch the game at a local bar), Zlatoper shared what agency PR calls “an innocent, hyper-emotional moment of celebration” when LeBron and the Cavaliers defeated Steph Curry and the Warriors with this photo.

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As the pic made its way around the office, creatives got to work turning Zlatoper into the latest in-house meme with some help from James and many others.

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mek3

 

Here he is attempting to escape from one Jack Torrance:

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Crying out for his mum, Kate Middleton:

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Teaching the pundits to stop calling Hillary Clinton “shrill”:

mek6

Finally meeting the Mother of Dragons:

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Giving an awkward high five to Tony Stark:

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Meme-bombing the work of another agency that will go unnamed:

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Acting out on his love of ’90s nostalgia:

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Bragging about his encyclopedic knowledge of fine art:

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Showing off his “tramp stamp”:

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…and reminding us who pays his salary.

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Harris tells us, “Mekanism was behind the Warriors, but our managing director is from Cleveland so he posted a selfie filled with sheer joy,” adding, “The creative department saw that as a ‘creative opportunity.’”

They weren’t the only people who found unique ways to express their excitement over the win. From the Cleveland victory parade:

No word on when the Mekanism creatives got back to doing real work or whether we will ever see the full credits for this campaign.

Vayner Takes Heat for ‘Attractive Females and Models Only’ Cannes Invite Attributed to Third Party Company

An email invitation for a party hosted by VaynerMedia and Thrillist Media Group, featuring a performance by Wyclef Jean caused a swift backlash, thanks to the line “Please be aware that this specific list is for attractive females and models only.” It went on to request that “Ladies” seeking admittance to the party send “recent untouched photos and/or your Instagram/Facebook links for you and each of your additional female guest [sic],” adding, “once we have reviewed we will send you specific entry details.” Men, meanwhile were advised to “contact the PR departments of the respective sponsors” to request admittance. 
Vayner Cannes Party
A female ad executive told Adweek that she and two colleagues received the email yesterday. One of them then forwarded the email to industry veteran and women’s advocate Cindy Gallop, who shared the email on Twitter and wrote, “It’s 2016, @vaynermedia @thrillist. This is not how you party at @cannes_lions.”

The email was sent by an events company called iGetIn. One of the women who received the email called the number listed and was told the sexist requests were a “totally normal practice.” Sounds pretty sketchy.

Gary Vaynerchuck seemed genuinely shocked to learn of its nature and quickly responded with a video apology. In it, he claimed he was “mortified” by the email, but accepted responsibility as VaynerMedia CEO. Vaynerchuck also reached out to apologize to the executive who forwarded the email to Gallop.

A Thrillist spokesperson, meanwhile, wrote, “A third party promotions company sent this email without us knowing. We apologize to anyone who was spammed with this but it didn’t come from Thrillist or Vayner. The guest list for the party has been closed for some time and will not include anyone who replies to that email.”

A VaynerMedia spokesperson told Adweek that the agency was not directly involved in the hiring of iGetIn and that “the message  itself was not reflective of the company or its culture.” Adweek reached out iGetIn but has yet to receive a response. 

Bill Grizack Sentenced to 5-7 Years in Prison for Defrauding McKinney and The Variable

The curious case of Bill Grizack came to an end today as North Carolina Superior Court Judge John O. Craig sentenced the now-former executive strategist and agency partner to serve 57 to 81 months in state prison for defrauding McKinney and The Variable (formerly known as Pave Advertising).

As readers who have followed this story will know, in March Grizack pled guilty to three class C felonies related to charges of obtaining money/property by false pretenses and attempting to do so.

“This is a case about lies and deception that fueled an upper class lifestyle,” said state prosecutor W. Scott Harkey in a Forsyth County court today, and Judge Craig seemed impressed by Grizack’s work, stating, “There are certain politicians in this country who could probably take notes from this man.”

The story began in 2010 when Pave Advertising of Winston-Salem hired Grizack as a consultant. The shop eventually made him a full-time employee, and he developed a data-based software product that he called Brand Forensics. Pave later renamed itself The Variable and used this software as a key selling point for potential clients.

Today in court, Grizack’s defense attorney Bernard Desrosiers said:

“He created a software program that, from the victim’s own mouth, was ‘revolutionary.’ He started getting legitimate contracts from clients, but the two he wanted most he couldn’t get.”

Grizack wanted to be a partner, but in order to avoid paying a six-figure fee the agency partners required him to provide $500,000 in new revenue. The Variable president and partner Keith Vest read a statement in court explaining what happened next via “fake contacts, fake email addresses, fake phone numbers, and fake documents” by which the defendant “impersonated officers at these companies.”

“Grizack was not out to please anybody. He is a con man … addicted to lying.

He did not just spontaneously lie; he schemed. He caused our company to suffer extended financial losses and McKinney to do the same. [He caused] unimaginable emotional turmoil at work and at home … he almost destroyed a company. He strategically used acts of kindness to build our trust, and like any con man his tactics were just tactics.”

As part of his plea agreement, Grizack agreed to pay $135,000 to The Variable and $100,000 to McKinney Ventures as restitution for his crimes. But Vest acknowledged in his statement that neither agency is likely to ever see any of that money, adding, “All of this happened to us 3 years ago. We have recovered and thrived without his cancer within our walls.”

Harkey claimed in court today that the total losses for the two agencies amounted to approximately $4 million; he was also the party who suggested that the Coca-Cola and Brown-Forman contracts that Grizack faked would have been worth $269 million, according to an earlier report in The Winston-Salem Journal.

After firing Grizack in 2013, The Variable partnered with the North Carolina State Bureau of Investigation to gradually build its case against him. Their reasons for doing so, according to Vest’s statement:

“We don’t want to see Grizack do this to other companies. He conned the company he worked for before us; he conned us and McKinney; the company he moved to after ours was able to uncover his deceit before it went too far.”

In his opening statement, Harkey said, “Right after his scheme was discovered by executives at Pave and McKinney, he went to [Colorado’s Egg Strategy] and did the exact same thing” before an unnamed party contacted that shop and let them know that Grizack’s $14 million McDonald’s contract was fake. A spokesperson for Egg Strategy declined to comment for this story, stating that the agency does not discuss current or former employees.

As we documented in the past, Grizack continued to get hired by top agencies even after he was fired by all three of the shops mentioned above. In 2014, he moved to California to work at Dailey Advertising as chief strategy officer for almost a year, and at the time of his guilty plea in March he was simultaneously employed or contracted by Interbrand, Goodby Silverstein & Partners and Venables Bell & Partners in San Francisco.

We’ve received quite a bit of information regarding this story over the past three and a half months. One anecdote that sticks out to us is the claim that the very name Grizack has become a verb of sorts in the agency world.

In explaining the reasoning behind the sentence, Judge Craig said that the fact that Grizack’s fraud led dozens of people to lose their jobs was first and foremost in his mind. He also cited an unnamed “rare genetic disorder that could be fatal and most likely will greatly shorten his lifespan” as a reason not to give the defendant a longer sentence, adding, “When he gets out, he will always have that hanging over his head in the event that he is able to get employment.”

He then added:

“Mr. Grizack, I don’t know what to say to you, sir. It was a very ingenious scheme and I was amazed at its complexity and its criminal ingenuity. It was a con game that was highly complex and highly believable. I have to say that in so many instances involving schemes such as this, the defendant is able to play on his ability to convince people.”

Craig also implied that the agencies in question may bare a bit of the blame in this case: “There is often a greed factor on the part of the victims … If something sounds too good to be true, it probably is,” he said, comparing the story to that of the goose that laid the golden eggs and adding, “I hope you will take this as a hard-earned lesson.”

Grizack took his opportunity to apologize to the court, his former employers and his wife and children while shaking his head profusely. “From my heart, I am truly, truly sorry,” he said before officers of the court placed him in handcuffs and led him away.

Desrosier summed up Grizack’s crimes as such: “He thought he could get away with it. He didn’t.”

A McKinney spokesperson declined to comment on the case after the sentencing. Before leaving the court today, Vest promised to provide an official statement to both Adweek and The Winston-Salem Journal.

Ed. note: I am currently working on an Adweek feature story on Grizack. If you worked with him, participated in any of his agency projects, or have more information about his case, please contact me at patrick.coffee@adweek.com or call me at 917-258-0966. Any subsequent conversations may occur on condition of anonymity, though on the record statement would be ideal.

Publicis Campaign for Garnier Very Closely Resembles a Year-Old Project by Agencia Raya

Last week, Publicis Conseil released a campaign for client Garnier that was created to solve a perpetual problem: how does one keep track of one’s stuff while at the beach?

Its solution was elaborate and very specific: a set of free shore-side lockers which sunbathers can use to store their belongings while getting a tan. The hook? Users must create a password to lock the storage units, and they subsequently receive a sample of the client’s (branded) product in the process to better ensure that they do not sit on the beach sans sunscreen.

Listen to a woman with a British accent explain.

Interesting work that happens to have been released right before a certain awards festival.

Now check out “Lockers Protectores,” released more than a year ago by Agencia Raya, a shop based in Santiago Chile. The client is Simond’s, a top Chilean skin care brand.

To objective viewers like ourselves, the only discernible difference between these two projects is the placement of the sunscreen dispensers.

Readers will know that this is hardly the first example of questionable agency behavior during awards show season. Remember last year’s McDonald’s print campaign that only ran in one super-obscure Australian paper the day before the deadline for Cannes entries? And what about the Lucky Iron Fish, which won a Cannes Grand Prix before WPP’s Geometry Global had to clarify that they did not actually design the winning product?

It’s unclear whether the Garnier project will be a Cannes entry for Publicis this year, though the timing works. We reached out to both Publicis PR and Raya to ask whether the former had been influenced by the latter’s work. Publicis said they would get back to us, but we have yet to receive a statement.

Raya seems to think that Publicis Conseil blatantly ripped them off, and we can see why they might come to that conclusion.

Ron Foth Advertising Stages a Rap Battle for Columbus Zoo and Aquarium

Columbus-based Ron Foth Advertising launched a campaign for the Columbus Zoo and Aquarium with a “Carnivores vs. Herbivores” rap battle. It’s about as ridiculous as it sounds.

The spot pits staff representing the zoo’s carnivorous animals against a similar group representing the zoo’s herbivores. Each group spits rhymes about why carnivores or herbivores are the best, dropping some elementary food chain knowledge in the process. It’s ridiculous almost beyond description, but in a way that, we suppose, may appeal to the target audience of elementary school aged children home for the summer and on the lookout for fun activities. Some of the zoo’s many animals make appearances in the ad as representatives of either Team Carnivore or Team Herbivore, which allows the spot to show off a lot of what the zoo has to offer. Jack Hanna, who serves as the zoo’s director emeritus, even makes an appearance near the conclusion of the spot, showing off his breakdancing moves.

“A group of us were visiting the zoo looking for inspiration for this year’s campaign,” Ron Foth Advertising creative director David Henthorne explained to AdFreak. “One of our kids asked a sweet old volunteer what the alligator eats. She went into a fantastic answer about the alligator being a carnivore, and what that meant, and the difference between carnivores and herbivores. Her answer had this amazing flow. Almost like a rapper. That got us thinking about old-school hip-hop rap battles.”

“We brought in an Emmy-winning choreographer to teach these zookeepers how to groove,” he added. “They spent days rehearsing various routines, all incorporating bushels of veggies and protein.” 

In addition to the “Carnivores vs. Herbivores” online spot, the campaign also includes broadcast and radio ads, digital and OOH components.

Credits:

Client: Columbus Zoo and Aquarium
Agency: Ron Foth Advertising, Columbus
Creative Directors: Ron Foth, Jr., David Henthorne
Copywriters: Ron Foth, Jr., David Henthorne, Megan Small
Art Directors: Gene Roy, Mike Wilson, Nikki Murray
Director: Ron Foth, Jr.
Producers: Martin Nowak, Lisa Bauer
Editor: Martin Nowak
Audio: Doug Edwards
Music: Walker Hayes, Nashville

Multiple Colorado Publications Claim That Factory Design Labs Failed to Properly Pay Them for Ad Placements

Factory Design Labs of Denver has been through a few major changes in recent years, most prominent among them the departure of former CEO Scott Mellin, who was demoted to chief brand officer and replaced by predecessor and agency founder Jonas Tempel.

The company also recently pivoted from being a design agency to also providing media services to both clients and advertisers. But according to a story that ran in the Denver Post over the weekend, “the agency has left several magazines with unpaid bills and raised the ire of media outlets and at least one company that paid Factory to place ads.”

Staff reporter Jason Blevins writes that Factory told multiple outdoor sports publications that it would be unable to pay for ads it had placed on behalf of its media clients, many of which are area ski resorts or producers of outdoor sports equipment. An ad sales executive from an unnamed national magazine said:

“They have a lot of outstanding balances and delinquent payments with us for all my clients that had media managed through Factory … I was flabbergasted when (a client) shared with me that they had indeed paid Factory and Factory was not paying us for those bills.”

The accusation, then, is that the agency accepted full payment from its clients before telling the media companies that ran the ads that it would be unable to fulfill its part of the agreement and attempting to negotiate alternate deals that paid as little as 8 cents on the dollar, according to Snow Magazine publisher Barbara Sanders. As one anonymous media executive put it, “Where did the money go?”

Blevins contacted various media executives who declined to comment on the record. Agency president Bob Reimer also did not say anything for the Denver Post story, citing unspecified “confidentiality and non-defamation agreements.”

We recently spoke to a source with direct knowledge of the matter who claimed that Factory Design Labs made repeated attempts to spin the story told by these media partners as one for which the agency is not to blame.

According to additional sources who spoke to The Denver Post on condition of anonymity, Factory blames its inability to honor business agreements on the loss of The North Face account. It’s true that the shop had been AOR on that business since 2007, but rumors of a split began circulating almost two years ago when Mekanism took over responsibility for the outdoor gear company’s TV campaigns. The first such effort launched in November 2014, and Mekanism officially became the client’s lead creative agency partner with the “Never Stop ____” campaign less than a year later.

Regarding the alleged non-payment, Sanders told the Denver Post, “…no one is talking about it in public. It’s like it didn’t happen.”

The Internet is Mocking Carl’s Jr. Over this Spot Featuring Todd Gurley Biting Into a CGI Burger

Los Angeles Rams running back Todd Gurley starred in a spot 72andSunny launched for Carl’s Jr. promoting the chain’s California Classic Double Cheeseburger that is receiving a fair bit of attention online — only not the kind the brand was probably hoping for. 

In the spot, Gurley bites into the burger, except it’s incredibly obvious that the California Classic Double Cheeseburger in question is a CGI creation. So where’s the beef? And why swap it out for CGI? Adweek wonders if Gurley is actually a vegetarian. (But then wouldn’t he be opposed to promoting the chain in the first place?) So many questions. The “chomping down on a burger” sound effect deserves some attention as well.

“Welcome to Cali” focuses on Gurley arriving in California, met by his agent. The stereotypically slimy character asks if he’s hungry before shouting for a burger and then demanding 20 percent of the cut (of beef). It’s not so bad as far as Carl’s Jr. spots go, definitely a step above the brand’s previous approach of hiring a model and showing as much skin as possible.

But all anyone is going to remember is that CGI burger. And, indeed, the YouTube comments are pretty brutal. One viewer asks “If you can’t even doll up a real burger for the ad, how can we trust you to make any burger look good?” while another claims “That CGI burger is as inflated as your prices.” Ouch. 

W+K Portland Goes Off the Rails with ‘Horrifying’ Old Spice Remix

W+K Portland used footage from some of its recent Old Spice ads to make a new spot that’s even weirder called “Horrifying Mutant Abomination (Remix).”

While not exactly “horrifying” (a creepy clown does make a brief appearance so it’s probably not for the easily frightened), the spot otherwise lives up to its title. Basically, W+K Portland worked with Canadian animator Nick DenBoer III, aka “smearballz,” to create the most bizarre remix of Old Spice footage they could muster.

It’s quite weird. 

W+K Portland has long traded in strange spots for Old Spice, but this latest effort takes the weirdness to new levels.

It arguably goes a bit over the top in the process, if such a thing is possible for this brand. We guess that once you’ve worked to push a brand to such extremes, it takes more and more to get the same kinds of reactions from viewers, which eventually leads to what we have here. We’re guessing some consumers will be charmed to learn that the agency can still elicit such a reaction for Old Spice work.

Credits:

Agency: Wieden + Kennedy Portland
Client: Old Spice
Director: Nick DenBoer
Editor: Nick DenBoer
Sound Mixer: Nick DenBoer
Art Director: Matt Sorrell
Creative Director: Jason Kreher
Copywriter: Jarrod Higgins
Interactive Producer: Eddye Borgese
Interactive Producer: Teresa Lai
Interactive Producer: Mike Davidson
Business Affairs: Dusty Slowik
Account Management: Madison Savary
Copywriter: Jarrod Higgins
Company: Fresher Collection
Copywriter: Nick Morrisey
Company: Leatherman

Pending ANA Report Claims That Agencies and Media Partners Make All the Best Kickback Deals

Several people who rightly chose to remain anonymous talked to The Wall Street Journal about the Association of National Advertisers’ eight-month probe of the relationships between ad agencies and their media partners. The piece just went live, and it is a mess.

Seems that quite a few agencies receive “rebates” or kickbacks from certain unnamed media companies as long as they spend a given amount to place ads in those publications. According to the sources mentioned above, “The group found that the practice was widespread within the sample it studied.”

That sample was approximately 150 people interviewed by the investigative firm K2 Intelligence.

The ANA declined to discuss the report with the WSJ prior to its release, and a spokesperson for the 4A’s told us today: “We cannot at this time comment on anonymous sources… we have not seen the study , have always preached full transparency to our members and will act accordingly when the details are released.”

For context, this sort of scheme is common and essentially accepted in Europe and Latin America…or so we hear. Some of the specific behaviors aren’t necessarily in violation of existing contracts–they’re just completely lacking in transparency. And it’s not just digital, either.

As for the reasoning behind the trend, unnamed “ad executives and marketers” blamed the “enormous pricing pressure that marketers have placed on their agencies,” a la the ongoing McDonald’s creative review.

Despite the fact that this sort of thing is accepted throughout most of the world and that the legal implications of the behaviors documented in the forthcoming report are not clear, spokespeople for Havas, Dentsu, Omnicom, IPG and WPP’s GroupM gave some variation of “we do not participate in kickbacks” statements to the WSJ. Publicis Groupe declined to do so.

Unfortunately, the report ultimately will not name names or organizations. For that reason, it’s not at all clear whether it will lead to “jail time,” as sources told Business Insider last month. But at the very least, this sort of development is all but guaranteed to damage relationships between agencies and clients who may believe that the former are driven primarily by their own self-interests.

Get ready for some audits.

Is This the Most Racist Ad of the Year, Or…?

So in case you missed it, the entire internet is collectively up in arms over this Chinese ad for detergent brand Qiaobi.

It is…something.

The narrative is almost an everyday romance: guy who happens to be black romances woman who happens to be Chinese, but then she pushes him into the washing machine and he miraculously comes out looking very different. Why? We don’t know! But she seems very happy with the result.

So. That was really fucking weird and awkward and we are quite confused right now, please help.

Oh right, some Italian company did it first, thank you Shanghaiist. We knew there was something a little off about that music.

Same concept, same music, opposite conclusion: “Coloured is better.”

Wow. With no real context beyond the most basic understanding of the popularity of skin whitening treatments throughout Asia, we simply don’t know what to make of this controversy. At the very least, it feels more tone-deaf than the Sprint T-Mobile “ghetto” thing to your average Western viewer.

But seriously, have you ever seen such a blatant ripoff?

DM9DDB Trusts the Dog Not to Reveal Your Secret Bondage Fetish

DM9DDB takes an odd approach in its new campaign for puppy chow brand Special Dog, displaying in various situations that we should treat man’s best friend well because they know too much.

In “Bondage,” for example, a rather large man wearing chains and a ball gag waddles into a room to get an umbrella (we don’t want to know…) when his dog stares him down.

Tongue lolling out the side of his mouth, drooling, the canine keeps his knowing stare on the man as the spot ends with the tagline, “He knows too much. Treat him well” and a shot of the man pouring Special Dog into his bowl.

The spot is certainly memorable in a WTF kind of way.

We’re not sure that’s going to get people to watch until the end for the brand connection or tune out, confused and/or grossed out. It also would probably help if the spot explained exactly why feeding your pet Special Dog is treating them well in comparison to other brands, although we suppose the name itself provides at least a tenuous connection.

Still, these have got to be some of the more memorable dog food spots we can remember and the pacing is pretty spot-on. Two other spots apply the same concept to the case of a woman who drinks her late husband’s ashes in her tea and a pug who catches his owner sticking his hand down his pants and then sniffing his fingers.

It’s all quite gross, which is the whole point.

Credits:
Advertising Agency: DM9DDB, Brazil
Chief Creative Officer: Aricio Fortes
Executive Creative Officer: Paulo Coelho
Creative Directors: Adriano Alarcon, Carlos Schleder, Gonzalo Ricca
Art Director: Rafael Segri
Copywriter: Filipe Medice
Production Company: Bossa Nova Filmes

SAG-AFTRA ‘Files Charges’ Against Grey with the National Labor Relations Board

Less than a month after sending an “urgent memo” on the matter to its 160,000-plus members around the country, the Screen Actors Guild?American Federation of Television and Radio Artists announced today that it has formally “filed charges” against Grey Worldwide with the National Labor Relations Board.

In April, a memo shared publicly and internally with everyone on the SAG-AFTRA mailing list called upon members to “provide us details” regarding Grey and “23 Townhouse (a.k.a. Townhouse 23).” The group insinuated that Grey went with the production company in order to avoid union requirements in the interest of reducing the costs of its campaigns.

Now the complaint is official. Today’s email in full:

Dear xxx,

Because Grey Global Group failed to cooperate with our investigation of its possible production of non-union commercials through a front company, SAG-AFTRA filed charges today with the National Labor Relations Board. As a SAG-AFTRA member, we wanted you to know as soon as we took action. The NLRB will review these charges and determine if Grey Global is guilty as charged.

The possible connection between signatory ad agency Grey Global and 23 Townhouse (aka Townhouse 23) triggered our investigation of the potential use of 23 Townhouse as a front company for producing non-union commercials. The charges come after SAG-AFTRA formally requested information and documentation from Grey Global regarding its relationship to 23 Townhouse. We alerted you to this action on April 28.

The member response to that alert has been overwhelming. We’ve received information about Grey Global, 23 Townhouse and other signatory ad agencies. Because the investigation is ongoing, we still need your help. If you or anyone you know has worked on a 23 Townhouse production, tell us about it by clicking here.

Be on the lookout for any information about Grey Global and 23 Townhouse while on set. If you see anything of interest – including information about other signatory ad agencies producing non-union commercials – contact us at adsgounion@sagaftra.org.

A union staff member will follow up with you. Any information provided is confidential.

In unity,

SAG-AFTRA

Note that this message and the complaint filed with the NLRB only directly accuses the Grey network of failing to cooperate with the investigation.

The group has been public with the announcement, posting a press release on Twitter and Facebook while using its #AdsGoUnion and #NoGreyArea hashtags. At this time it does not appear to have purchased sponsored posts on Instagram or repeatedly tweeted at the agency in question as it did before staging a protest stunt at Droga5’s downtown Manhattan headquarters in January.

For context, SAG-AFTRA and the advertising industry (as represented by ANA and the 4A’s) recently came to a tentative agreement regarding actors cast in commercial work. Specifically, this arrangement was created in the interest of ensuring fair pay and work opportunities for union actors just as more clients move toward reducing production costs by taking more work in-house and employing social media influencers rather than professionally trained actors in their ads.

When news of the accusations against Grey first went public, the agency’s legal counsel told us that SAG-AFTRA had not, contrary to its claims, reached out to the agency before alerting members about its ongoing investigation. In response to the letter, a spokesperson for Grey’s legal team wrote, “Grey is a long-standing signatory of SAG.  We have had a very positive and productive relationship with them.  We believe that there is no merit to their contentions.”

Today a Grey spokesperson assures us that the network will respond to SAG-AFTRA’s filing.

Agency Executives Offer Their (Hot) Takes on McDonald’s Performance Pay Controversy

A couple of weeks ago we ran a post that sparked the ire of a few folks in Agency Land. It concerned WPP’s decision to drop out of the McDonald’s creative review and, more specifically, the alleged reasons for that decision.

According to multiple sources, the client not only set a 60-day June 30 deadline for the pitch but also told potential agency partners that they would not be allowed to make a profit on base compensation and could only do so via unspecified performance pay incentives.

We managed to get a few industry veterans to speak to us about this matter both on and off the record for a follow-up story. First, a source who has worked with fast-food clients in the past called the (alleged) deal “unheard of,” adding, “I don’t know of any business that operates that way.”

360i executive chairman Bryan Wiener told us:

“Clients have always had the power. And performance-based compensation is not a new topic either, but it’s very hard to find ways to make it work so that all parties are aligned.”

“Anytime things like this happen, we have to step back and say, wait a minute. Where are we going with the structure of this relationship,” said mcgarrybowen global CMO Brandon Cooke.

Industry advocates had a similar take. 4A’s evp, head of agency management services Tom Finneran said, “If the situation is accurate, then there is no incentive at all. All the performance pay would be to get you back to some degree of profitability, but an ad agency is a for-profit business.”

Finneran got a bit more specific regarding 4A’s official policy:

“It has been 4A’s recommendation over the last several years that agencies and clients should not even begin to discuss performance compensation until the two parties have established a robust relationship. Otherwise, there’s tension on both sides.”

He also said that the structure obviously favors the incumbent, and another source compared the arrangement to a game of poker:

“With risk there has to be reward. The two incumbent holding companies know what the business looks like, while WPP has no idea. That’s when you fold in poker.”

According to Finneran, quite a few people have been thinking the same thing: “There has been some discussion that not all business is worth having.”

For the record, McDonald’s has not responded to our requests for comment or clarification.

Lawsuit Claims RAPP CEO Told Employees, ‘I Will Break Off Your Finger and Shove It Up Your Ass.’

This is starting to sound familiar.

On Monday, the recently fired U.S. president of Omnicom direct marketing agency RAPP filed suit against his now-former employer. As we reported in Adweek last night, the suit accuses RAPP global CEO Alexei Orlov of discrimination, retaliation and wrongful termination.

Onetime BBH New York CEO Greg Andersen claims that he was fired in April (see our post here) for speaking up about Orlov’s “destructive” behavior, which allegedly included enough “sexual and racial harassment, gender and age discrimination, and retaliation for trying to put an end to such injustices” to traumatize pretty much everyone at the organization. This story very closely resembles that of Gustavo Martinez in several ways.

Regarding the specifics of the suit, Andersen and his law firm Rushovich Mehtani LLP claim that Orlov did the following since leaving Volkswagen to become RAPP’s chief executive back in 2014:

  • Referred to multiple unnamed women as “fat cows”
  • Told a Jewish employee he was unhappy because he was “miserly with money”
  • Pressured an employee working on the Pfizer account to get him Viagra directly from the client because “he has a young wife”
  • Told Andersen he would not promote a female executive because she is “too pretty” to be taken seriously
  • Defended and ultimately retained an executive who got drunk and told staffers in the L.A. office that he didn’t think an unnamed female employee was wearing underwear
  • Told a meeting of 70 employees and others in Dallas that “[If you] mess with my brand or my direction…I will break off your finger and shove it up your ass.”
  • Complained to Andersen (who is over 40) that he “did not want [his] company filled with people in their forties or fifties”

Here’s where the story gets even more familiar: Andersen claims that he reported Orlov’s behavior to RAPP’s head of global HR Carolyn Doud, the managing director of its New York office and Omnicom’s in-house legal counsel on multiple occasions and got rewarded with the loss of this job. Orlov allegedly texted him in March to let him know that members of “my team” had told him of “conversations you are having around / about me” and then fired him in April right after he returned from a weeklong vacation.

After the story ran, RAPP sent us a statement:

RAPP is aware that Greg Andersen has filed a complaint and denies that any unlawful conduct occurred. Mr. Anderson’s position with RAPP was eliminated and we are not able to comment further. RAPP has, and enforces, policies prohibiting discrimination and retaliation on the basis of gender, race, age, disability, sexual orientation or any other legally protected status.

You may note that, unlike WPP in the Martinez case, Omnicom did not allow the accused to speak for himself. The company also did not claim that there is no truth to any of the incidents mentioned in the suit–only that the (alleged) behavior itself is not technically illegal.

This is a much smarter PR move, and it also amounts to a far less robust defense of the executive in question.

We’ve been receiving tips about RAPP for some time.

In a recent email to New York managing director Rick Doerr that Orlov accidentally sent to all staff regarding a half-day Friday, he wrote: “I am not sure as to why you have given the office off on Friday afternoon. We do not do this for any other of the religions. Unless somebody is Roman Catholic and proven practitioner why would they take this day off?” Orlov, who is himself a Roman Catholic, later apologized.

We also hear that not all of the employees to voice complaints about Orlov were female. Sources with direct knowledge of the matter tell us that the agency’s (male) chief creative officer filed an official harassment complaint against him and that Orlov “retaliated” in unnamed ways against multiple employees in addition to Andersen. Several creatives and strategists have left the agency in recent months including CD Adam Whittaker, who went to AOL.

Finally, sources also tell us that Omnicom conducted an official internal investigation of approximately 19 individual complaints made against Orlov but decided to do nothing.

Updates undoubtedly to come.

Meet Your New ‘Uber, But for Advertising’ AI Overlords

Here’s a quick one for review in case you guys weren’t aware of the many brilliant options the market has provided to fill your clients’ advertising needs.

This depressing message comes to us via a PR agency that obviously can’t tell the difference between “advertising” and “ad tech” but works with clients offering a “sharing economy” solution to your clients’ most pressing needs.

“Many of today’s most profitable companies aren’t producing or selling anything. They’re simply connecting and streamlining resources. Take Uber and Airbnb for example, which own no cars or real estate.

The shared economy is growing. Its next stop? The advertising industry.

xxxxx is the world’s first ad development creative platform that uses a pay for performance model with a community of more than 10,000 designers worldwide. It taps into a global creative production industry worth $20 billion by combining human design with machine learning.

xxxxx uses Facebook and Instagram API’s with advanced AI and machine learning algorithms. They analyze image data faster and more accurately that way their designers can understand the clients brand and audience.

How does it work? Advertisers submit a brief. Designers from xxxxx’s community appear within 48 hours. Advertisers choose as many as they like, and assemble the ads in xxxxx. Then advertisers have the chance to swop underperforming creatives or let the platform automatically do this.”

Sure, you may ask who would be dumb, poor or desperate enough to sign up for this. We don’t really want to know the answer.

OTOH, given how generous the Uber business model has been to struggling car owners and how remarkably human-like AI capabilities can be, this sounds like a great opportunity for skilled designers everywhere!!