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Breaking News in Advertising, Media and Technology

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    Sears Canada is struggling mightily, but it has a secret weapon in a celebrity connection.

    Peter Myers has worked at Sears Canada for 32 years. And it turns out his brother is Mike Myers, who agreed to do this amusing ad playing up their connection. The spot—directed by Hungry Man's Bryan Buckley—is nicely self-aware, too, as it comically refers to the retailer's problems. And Mike and Peter's banter is funny, natural and well written.

    "Do you know anything about the retail business?" Peter asks Mike. "Not a lot," Mike replies. "Just that Sears Canada has to demographically and psychographically alter the trajectory of its business model. But that would just be a wild guess."

    Stick around for Mike's jingle singing at the end.



    CREDITS
    Client: Sears
    Production Company: Hungry Man
    Director: Bryan Buckley
    Executive Producer: Mino Jarjoura
    Producer: Matt Lefebrve
    Line Producer: Tony DiMarco
    Director of Photography: Adam Beckman
    Production Designer: Paul Austerberry
    Editor: Jay Nelson, Cut+Run

     


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    In case you were wondering where Miley Cyrus was hiding, look no further than this little ad with everyone's favorite wrecking ball wearing nothing but a smile and some Golden Lady seamless tights.

    It's not going to break the Internet, but it is an odd palate cleanse after a day of staring at the sun—er, the moon—in the form of Kim Kardashian's oily derrière. 

    Subtlety isn't exactly Miley's strength, and she sure packs enough innuendo and suggestive behavior into these 15 seconds to wedge herself in some weird cavity of your brain like a GIF of a monkey drinking its own pee.

    Just kidding, Miley. Keep up the good twerk, YOLO, lulz, 420, etc.


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    It's only mid-November, but it's beginning to feel a lot like Christmas—thanks to British marketers jostling for position in their Super Bowl-like holiday ad season.

    Two U.K. Xmas spots make our list of best ads this week, along with a pair of celebrity comedy commercials and the first TV work from Dollar Shave Club.

    Watch them all below, and vote for your favorite.


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    Red Tettemer O'Connell + Partners placed some faux personal ads in the New York, Philadelphia and Chicago sections of Craigslist's popular "Missed Connections" department on behalf of crystal jeweler Swarovski.

    One ad reads: "Love that you're the kind of girl that scrolls through the Missed Connections and knows your smile gets attention. You're definitely our kind of girl. We think confidence like that deserves something sparkly. Something maybe like a Swarovski Stardust Bracelet? Maybe we have one for you. Send us a message and maybe we can make this sparkle yours."

    Check out six of the listings here:

    Cute Dress Girl at Franklin Mortgage - m4w
    Black tshirt ordering latte at La Colombe - m4w (Center City)
    East Village Milk Bar Blonde with Bday Truffles - m4w (East Village)
    Blonde bartender LES, great smile - m4w (Lower East Side)
    Last friday in Old City, white sweater - m4w (Old City)
    Bright red lips w/wrist tattoo at big star - m4w

    This approach is restrained compared to TiVo's lusty romp through Missed Connections last year. And it's probably more sincere than much of the section's typical fare, as a few respondents will actually receive Swarovski bracelets as part of the promotion.

    "We hope we'll pleasantly surprise some curiously intrigued women on Missed Connections," says agency chief creative officer Steve Red, "and that they'll sparkle a little bit more the next time they catch someone's eye."

    This much is crystal clear: In a world where everything's an ad, sometimes even ads come disguised as other ads.


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    Almost eight years later, "Dick in a Box" lives on as one of Saturday Night Live's more hilarious digital shorts. And since there are no rules that say that jokes become stale after that amount of time, some car salesmen in Oak Lawn, Ill., fired up their cameras and created a parody to the tune once made popular by Justin Timberlake and Andy Samberg.

    Oak Lawn Toyota's "Keys in a Box" takes SNL's hilarious joke and removes the funny parts—inserting keys into said box. But it's pretty well executed, considering the presumed budget. I found myself bobbing my head to the beat, and chuckling at this ironically great rendition.

    CREDITS
    Music by Rico Vigil and Augie Rampolla
    visforvig@gmail.com
    Written, filmed and directed by Joe Mallet (Internet sales manager)
    Starring Parker Gadbois, Abby Urbano, Joe Mallet


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    Proud of your dozens of LinkedIn endorsements? You're going to look like a right tosser next to Matt Roach and David Lawrie.

    The creative team at M&C Saatchi in London have secured testimonials from a whole slew of celebrity A-listers—from Cameron Diaz to Gwyneth Paltrow to George Clooney—or so it would appear from the amusing video below.

    "We've been endorsed on LinkedIn before by people who have never actually worked with us," Matt and Dave tell AdFreak in an email. "The whole 'endorsement' thing has lost its value. So we thought we'd get recommendations from celebrities people actually care about. We've never worked with them either."

    Follow Matt and Dave on Twitter at @akacreatives.


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    No one does bored better than Anna Kendrick.

    The actress, who turned in one of the most amusing ad performances of the year for Newcastle, is back for more comedy in this seasonal spot for Kate Spade, in which she returns from a day of holiday shopping only to realize she forgot her apartment keys.

    This would be irritating in real life, but Kendrick takes it in stride—using the unexpected free time to drink champagne, loudly sing holiday jingles and of course model some Kate Spade clothes for her dog. Her goofy charm helps the sometimes airless brand to breathe, and the fashions get plenty of airtime, too.

    The video is also interactive. You can click on the products as the film plays to learn more about them, and then check out the looks on KateSpade.com right from the video embed.

    Michael Mohan of HēLō was the director. The rest of the credits are at the end of the film.



    Kendrick also appears in Kate Spade's holiday print ads. For more Anna, check out the brand's interview with her below.




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    Jim Henson creations have a storied history in advertising, going back to the 1950s, when a violent proto-Kermit pitched Wilkins Coffee with 10-second TV spots.

    Tappy, the latest creation from Jim Henson's Creature Studio, is similarly off-kilter in his role as a living credit card reader at a checkout counter. 

    Tappy is the new voice of Softcard, an e-payment product that works at McDonald's and other major chains that now accept phone swipes as currency. Softcard needed a new mascot and some rebranding after changing its name from Isis, an unfortunate name since being co-opted by the infamous terror state.

    Tappy is a bit out there as a concept, turning a boring inanimate object into a somewhat obnoxious little critter, but that's what the Henson team has done for decades, building characters for brands to support their more artful Muppet projects. In fact there’s a roster of corporate mascots that come from The Jim Henson Co. that you might not know are basically cousins to Kermit, Oscar and Big Bird. For Instance, Snuggle bear is part muppet and so is Jack In The Box’s oversized snowman.

    Here's a look at the some of the characters made by Jim Henson's Creature Studio for commercials and video marketing:

    Tappy, Softcard
    In a history of oddities, Tappy stands out among the Henson creations for sheer adsurdity. He's a credit-card reading machine with teeth. We could learn to love him, maybe, on a long enough timeline.

    Mel, Kraft
    Mel the MilkBite is part dairy, part granola bar and totally confused. He's a character with an identity crisis, pondering, "What am I?"

    Life, Pacific Blue Cross
    Life is a Muppet in the classic sense, and he promoted insurance for Pacific Blue Cross. In the commercials, he bites people in the butt, symbolizing unexpected events like dental emergencies.

    Polar Bear, Coca-Cola
    The Coca-Cola polar bear, which debuted in commercials in 1993, is a classic, and Jim Henson’s Creature Shop brought him to life for appearances with the public.

    Puppet Jack, Jack in the Box
    Puppet Jack has very similar mannerisms to Kermit, like when he throws his hands in the air and freaks out. A true pitchman who knows where to find a receptive audience, he shows up on couches to educate stoners about fast-food deals.

    Great Chocolate Factory Mystery Experience in 4D, Hershey's

    Hershey’s Great Chocolate Factory Mystery Experience is an interactive show featuring talking candy bars at Hershey’s HQ in Pennsylvania. Henson made the digital puppets for the experience.

    Lenny, Lending Tree
    Lenny could be brothers with Kermit, given he's so obviously Muppet and green. He basically just follows around a guy named Len, trying to talk him out of taking a loan from a bank.

    Fairy-tale characters, Reading Is Fundamental

    The literacy effort Reading Is Fundamental featured puppets alongside famous cartoon characters for this ad inspiring adults to read to children.

    Rico, Air New Zealand
    Rico was a rather NSFW spokesppupet whose South American accent and wordplay raised eyebrows, such as when he praised "a nice Kiwi beach." He was best known for the viral marketing collaborations with edgy celebrities, including Snoop Dogg and Lindsay Lohan.

    Snuggle Bear, Snuggle

    Snuggle the fabric softener bear has deep Muppet roots. The bear debuted in 1983, a creation of Kermit Love (not related to the frog), who also made Big Bird.


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    Style and color are very important when it comes to sunglasses, but as any fashionista—or just anyone who lives in L.A.—will tell you, no frames get hot until celebrities put them on.

    In 1955, James Dean did.

    Photo: Nick Ferrari

    Their maker, Ray-Ban, called them Wayfarers.

    Fresh from the drafting table of Raymond Stegeman, Wayfarers were unlike any other eyewear that had come before. Made of plastic instead of metal, its temples flared, the Wayfarer was a rebellious thing—probably why Dean, the 24-year-old star of Rebel Without a Cause, put them on.

    Then Audrey Hepburn put them on. That was 1961, when Breakfast at Tiffany's introduced America to daring suggestions of divorce. Givenchy designed Hepburn's dresses, but Ray- Ban completed the look. Soon, Hollywood stars including Marilyn Monroe, Cary Grant and Kim Novak had put Wayfarers on. In Nashville, Roy Orbison followed suit, as did a guitarist in New York named Bob Dylan.

    America had a new president in 1961, and many thought that he'd put Wayfarers on, too. In fact, JFK wore the American Optical brand (a knockoff) but no matter: The frames looked like Wayfarers, and that was close enough. Overnight, millions of American men tried to imitate the Camelot style—which meant that they put Wayfarers on, too.

    What was it about these frames? Their distinctive shape possessed the ability to dress up drab outfits while dressing down formal ones. The Wayfarer's "distinctive trapezoidal frame spoke a nonverbal language that hinted at dangerousness," the critic Stephen Bayley has written. That's probably why Andy Warhol and John Lennon put their Wayfarers on, too.

    Even though Debbie Harry and John Belushi had their Wayfarers on, sales were in the ditch by the late 1970s. So Ray-Ban found a new way to get celebrities to wear the goods: product placement. Tom Cruise put Wayfarers on for 1983's Risky Business. Then Don Johnson put them on, as did Don Henley, Johnny Marr and Madonna. Corey Hart wore his sunglasses at night, and by 1987, as Michael Jackson was setting off on his Bad tour, he'd put Wayfarers on, too.

    Today, Italian optical giant Luxottica licenses the right to make Wayfarers, which it reintroduced in 2006 as a pristine copy of the 1952 original. Times and tastes have changed a lot over 60 years, but the cultural impetus of Wayfarers is now unstoppable. "They're one of the first things that come to mind when people think of sunglasses," said Jordan Silver, co-owner of New York's Silver Lining Opticians, and he is in a position to know. Vintage Wayfarers--when Silver can get them--can go for $800. Of course, prices like that are a pittance for the latest generation of celebrities to put Wayfarers on, including Johnny Depp, Robert Pattinson, James Franco, Jude Law and Orlando Bloom. We'd list more, but we hate to name drop.


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    Photo: Karl J. Kaul/Wonderful Machine

    Specs
    Who Brian Dunbar
    Old gig Managing partner, director of client services, David&Goliath
    New gig President, David&Goliath
    Age 54

    What's been your Goliath moment since becoming president?
    I think it's been really managing our growth while keeping our culture intact and thriving. The David&Goliath name is truly important and we really encourage our people to always be focusing on big challenges—so much so that we have a wall in our office where we have new employees create graphic representations of their personal Goliaths to challenge.

    What is your favorite thing about working as a creative in L.A.?
    The incredibly close proximity to the entertainment studios. They are such a creative force that we can partner with, tap into and be inspired by.

    What's the most challenging?
    Getting top talent to move from San Francisco and New York can be challenging at times. People may be really interested in working at David&Goliath, but sometimes are hesitant to move from a compact urban environment to sprawling L.A. If we can get them to spend some time here, it becomes easier once they get to know the city and all it has to offer. And, of course, going east or west across Los Angeles in the afternoon is never easy.

    How is the relationship between agencies and the entertainment business evolving?
    There's more collaboration and partnership. I think everyone realized they can accomplish way more working together than competing or working in silos. We have great relationships with the talent agencies, studios and record labels. That helps us create work that reflects pop culture and resonates with consumers. Plus, it also gives us an advantage over other agencies.

    What's a common misconception of L.A. as a creative market?
    Small, just service offices for big network New York or Chicago agencies, automotive centric, laid back. It's actually a large, diverse and vibrant collection of small, medium and large agencies.

    How does the city of Los Angeles inform agency culture?
    L.A. is a very culturally diverse city and I think the cultural makeup of the agencies reflects that. It certainly does at David&Goliath. I see a lot more diversity here than I have at other agencies in my career and I think that helps make the work more interesting. We also have Hollywood, the music industry and Silicon Beach that help strengthen our connection to pop culture and technology.

    Is Silicon Beach legit?
    Absolutely. There are something like 500 tech startups in Silicon Beach and they've received billions of dollars in funding. Some big successes have come from there like Hulu, Maker Studios, Tinder and Snapchat. Facebook, Google and YouTube all now have offices there too and they're attracting lots of great talent to L.A. They're also helping the advertising agencies in L.A. stay closer to the leading edge of technology, digital and social media.

    What will be the most important thing you do in your first year in this job?
    Again, really keeping our culture intact as we grow. Substantially growing our digital capabilities and staff and integrating them into everything we do, strengthening our operations to support recent and future growth, focusing our new business efforts and attracting great talent.

    What are your best young hires obsessed with these days?
    I'd say authenticity, discovering new things, social media, music and, of course, food trucks.


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    Winter is here, people. And unless you're a baseball player passed out somewhere in the Caribbean sun, you're going to have to deal with it.

    Or rather, enjoy it.

    Wieden + Kennedy's new Nike campaign is all about how painful it can be for athletes dealing with the harshness of winter weather—unless you happen to be wearing the brand's Hyperwarm baselayer of workout apparel, in which case you're impervious and awesome.

    Chris O'Dowd amusingly stars as a weatherman of sorts, who hyperbolically describes the effects of the cold on the human body. It's not pretty. And yet his dire warnings are at completely at odds with what's on the screen, as we see cold-weather athletes going about their business—with their brains and extremities in full working order.

    O'Dowd is a likable guy and an unexpected choice, and the whole spot has some of the wry, freewheeling atmosphere of the Bradley Cooper-voiced "Possibilities" spot from last year—though it's more cartoony with the faux-weather-show setup.



    The film is the first in a multi-part series, Nike says, with this first installment featuring football stars Aaron Rodgers and Jordy Nelson, soccer players Clint Dempsey and Brad Evans, distance runner Mary Cain, figure skater Gracie Gold and snowboarder Johnnie Paxson.

    Among those to be featured later in the campaign are hockey's Dion Phaneuf and baseball's Yasiel Puig—who must be playing in a winter league in Iceland.

    CREDITS
    Client: Nike
    Agency: Wieden + Kennedy, Portland, Ore.


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    KLM Royal Dutch Airlines, which warmed heart-cockles recently with its lost-and-found beagle, delivers another winner by listing a "Spacious Airplane Apartment" on Airbnb.

    Yes, they turned an airplane parked at Schiphol Airport in Amsterdam into an apartment with two bedrooms, multiple bathrooms, Wi-Fi and a panoramic view from the cockpit. Pretty sweet, right? It's the closest any of us can come to being Elvis without abusing Percodan. (It's also a step up from Airbnb's Ikea listing.)

    "On November 28, 29 or 30, you have the chance to spend the night inside this fly apartment. Tell us before November 20 why you would like to spend the night. We'll fly in the winners from anywhere in the world," the listing says.

    Unfortunately, KLM stomped on this raging fire of awesome with some seriously bogus house rules, including "no marshmallow roasting with the jet engines" (lame), "the consumption of alcohol is not allowed" (lamer), "no flying" (OK, that one makes sense) and worst of all, "don't use the inflatable emergency slide."

    Whatever, KLM. If I didn't want to use an inflatable emergency slide, I would stay in a building like a normal person.

    Via Design Taxi. More photos below.


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    Kmart and Joe Boxer's "Show Your Joe" ad (rechristened "Jingle Balls" by some) was one of the big hits of 2013's holiday season—to the tune of 18 million YouTube views.

    Now, here's the sequel, promoting Joe Boxer men's sleepwear.

    The musical body parts have changed a bit, but fans of last year's spot will appreciate the surprise ending here. Plus, it looks like the original "Jingle Joes" will soon be returning—at least to this website, where you personally will be able to "give them a jingle."

    "We're thrilled so many people laughed along with us last year and expect they will this year!" a Kmart spokesperson says. The new spot, like last year's, was made by FCB Chicago and directed by Christian Weber. It begins airing on TV tonight.


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    Mac Premo is a guy who makes art, and has always made art, and here's a pretty cool mini-documentary about Mac Premo that you might well mistake for an ad for Mac Premo.

    Created by a guy named Bas Berkhout, it's beautifully shot and edited, with a narrative that pretty much breezes right by. Mac Premo, for his part, seems pretty deep. He's just trying to find his way through the vast void that is a life lived with the knowledge that the only inevitable truth is death. Thankfully, there's the beautiful paradox of striving to fill his existential chasm by caring about things like baseball and steak and wine and family.



    Of course, videos about the struggles of being an artist, real as they may be, are generally pretty trying. The psychological sausage-making of any calling makes for a limited frame—especially a calling that's intrinsically self-indulgent. But this does about as good a job as the genre can. Rather than, say, parading out a supercut of platitudes from a string of working artists, it takes a closer look at the story of a single talented creative who seems successful enough as a both an independent creator and hired gun, but not super famous.

    Yes, self-descriptions like "stuff maker" deserve skewering, when perfectly serviceable words like "artist" exist to say the same thing, better. But the clip, and its generally self-reflective tone, certainly play their part in conveying a sort of rallying cry for a certain audience—and illustrating a small example of how fine the line between content and marketing can be.

    "To be the arbiter of good stories is to live forever," Premo says, in the ad's conclusion.

    Or at least, it can delude you into thinking you can.


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    IDEA: Michael Dubin became a famous advertising face overnight in 2012 when he starred in a wonderfully cutting 90-second online video for Dollar Shave Club, the mail-order razor subscription service he co-founded and runs as CEO. That spot was watched more than 17 million times on YouTube and put the fledgling business on the map.

    Two years later, it's time for the next step: TV advertising.

    Four new spots, airing nationally, are fairly traditional 30-second set pieces, but retain the brand's irreverent spirit with mock violence and other zany humor in hyperbolically illustrating the frustrations of buying razors at the store (e.g., they're expensive, and locked up like King Tut's treasure).

    "The first video was an introduction to the core service," said Dubin. "But we always wanted to tell this other story, and have a bit of fun with it."



    COPYWRITING: All four spots, written by Dubin and in-house creative director Alec Brownstein, are showdowns between razor-buying heroes and razor-selling villains at a convenience store.

    Two focus on the exorbitant price of store-bought razors—one man doesn't have enough, so he gives his clothes away as well; another gets literally beat up by the price by a boxing glove hidden in the sales counter. The other two focus on what Dubin calls the "razor fortress"—the locked case where shaving supplies are kept to prevent shoplifting. Customers who dare cross the threshold end up getting tased or shot with a tranquilizer dart.

    "It's rooted in truths. It is frustrating. It is expensive," Dubin said of the plots. "It's a heightening of reality. If these stores are willing to do this, what else are they willing to do? Maybe they're willing to tranquilize you with a dart."

    Dubin himself appears at the end of each spot to deliver a few quick lines that tie things together. "It's almost like they don't want you to buy their razors. Well, I want you to buy mine," he says in one.

    Over stop-motion footage of razors behind packed up for delivery, Dubin adds in voiceover: "DollarShaveClub.com delivers amazing razors for just a few bucks."



    FILMING/ART DIRECTION: Steve Miller of Radical Media, which co-produced the campaign with Zebra, shot the ads in Cranford, N.J., over three days.

    "We had worked with my friend Lucia [Aniello] on the original video, who has gone on to direct Broad City on Comedy Central," said Dubin. "We wanted to change things up, but work with the same caliber of talent."

    There's a drabness to the look of the convenience store, though that's more about set design than color grade. "A lot of comedy these days has a desaturated, cold look. We opted to go the other way," said Zebra founder Linda Rafoss.



    TALENT: Despite the hyperbole, Dubin wanted actors who could do subtle comedy. "There's a lot of humor in the expressions. There's not a lot of big performances, though there are a couple of big jokes," he said.

    Dubin did improv comedy in New York years ago, and knew a few of the actors from that.

    It was also important that Dubin appear—or rather, the character he calls "Mike the spokesman"—for the sake of consistency and relatability.

    "Dollar Shave Club wants to speak to you in an everyday voice," he said. "Using a celebrity is not who we are. Tonally, it's important to remind people, here's a guy who's just like you, finding a solution to a real problem."

    SOUND: It's mostly elevator music, which adds to the ennui, punctuated by violent sound design around the physical comedy.

    MEDIA: National cable and online.

    THE SPOTS:

    CREDITS
    Client: Dollar Shave Club
    Founder, CEO, Writer: Michael Dubin
    Creative Director: Alec Brownstein
    Production Partners: Zebra, Radical Media
    Director: Steve Miller


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    Sure, megachains like Whole Foods and Trader Joe's can pull off a hip, millennial-savvy vibe. But what about those old-school regional grocers?

    Lowes Foods, with around 100 locations in the Carolinas and Virginia, recently set Winston-Salem, N.C., agency The Variable to the task of creating a brand image that breaks most of the usual grocery conventions.

    "It's not every day that a client asks you to help them rethink an entire category, much less their entire business," said David Mullen, director of account management for The Variable. "It's been thrilling to partner with the Lowes Foods team to create a new and unique in-store experience, and then market it in provocative ways that stand out in a category known for playing it safe."

    The agency describes the new look and tone as "if Pixar created a grocery store, but talked about itself the way BuzzFeed would." The rebrand has rolled out to 14 locations so far, and more are in transition.

    Check out some of the grocery store's ads and in-store designs below:


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    Adweek recently gathered several creative and tech industry leaders at The Lot (home of Funny or Die) in West Hollywood for a frank discussion about the state of the ad business in the City of Angels. 

    Actor, director and musician Jared Leto joined the roundtable conversation, and he summed up the panel's ideas in one powerful sentence: "When commercials stop being advertising, the can be art.”

    In the video above, industry leaders who live and work in Los Angeles highlight why the city has emerged as the creative capital of the world. 

    And, naturally—it is Hollywood—they gathered for a photo shoot afterward.


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    And your massive brand Twitter fail of the day goes to … Dave & Buster's!

    To advertise its Taco Tuesday, the restaurant chain made a joke that pretty clearly went over the line, prompting incredulity from its Twitter followers. "I hate tacos, said no Juan ever," the tweet read.

    Obviously, this isn't the first time a brand has tweeted out something outrageous—in this case, racist. But the question remains: How does this kind of stuff make it into the actual world?

    As of 1:40 p.m. ET, the tweet is still live—40 minutes after it was posted. Apology surely coming soon.

    UPDATE: The tweet was deleted at around 1:41 p.m. ET.

    UPDATE: And here's the apology, posted at 2:35 p.m. ET:

    See some of the reaction to the tweet below.


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    Ice shimmers on the streets of New York in Ogilvy & Mather's animated holiday ad for Tiffany & Co. It sparkles from the trees and bridges, too. Its glow radiates from Broadway marquees and glimmers among the steel and glass towers that rise into the wintry sky.

    I'm not talking about frozen water, people!

    This is Tiffany, so, naturally, it's diamonds and other precious stones illuminating a bejeweled yuletide wonderland.

    The spot's style and sensibility evokes the early Mad Men era, recalling a simpler consumer age when a glittering engagement ring could cast away all sorrows and an exquisite brooch could mend a broken heart. It's a glitzy, romantic fantasy where an animated Audrey Hepburn wouldn't feel out of place.



    Such seasonal wish fulfillment seems entirely on brand for Tiffany. It's all sparkle and shine—nothing heavy, no deep meaning, as soft as falling snow.

    The 80-second clip, animated by Psyop, is part of a larger campaign that also includes print and out-of-home elements. (It's separate from the luxury subway car that Sid Lee built for the brand.) This marks Ogilvy's first big creative push for Tiffany since winning the brand's account in February.

    Some grinches might decry this gaudy vision, preferring more thoughtful or emotionally resonant holiday scenarios. Fair enough. But I say, there's no harm in imagining a wondrous world where the wind echoes with love songs and every gift is an absolute gem.

    CREDITS
    Client: Tiffany
    Agency: Ogilvy & Mather, New York
    Chief Marketing Officer: Lauren Crampsie
    Chief Creative Officer: Chris Garbutt
    Group Creative Director: Debra Fried
    Creative Director: Jeff Leaf
    Executive Producer: Maureen Phillips
    Animation: Psyop
    Music: "Out of the Blue" by Chauncey Jacks
    Executive Group Director: Leyland Streiff
    Account Supervisor: Kat Bear
    Account Executive: Aniella Opalacz


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    There's a certain amount of pressure on designers when they decide to get tattoos. It's like a hairdresser's hairstyle, or an architect's home—the choices you make seem weightier, more personal somehow, given your background.

    Creative Bloq recently asked 21 designers to show off their tattoos, and explain what makes them special. And the designs, and inspirations, are varied and fascinating.

    Facebook designer Russ Maschmeyer and freelance letterer and illustrator Jessica Hische got the tattoos above. His is RGB. "I convinced him it would be 'conceptually stronger' if I got the CMYK version of the same tattoo," Hische says. "He was a little freaked out about having a couple's tattoo, but the more we talked about it the more it made sense. Russ got additive color (RGB) since his career passions were primarily screen-based; I got subtractive color (CMY) because I started my career in print design."



    Typographer Carey Smith has tattoos of 26 tiny letters. "I didn't start off thinking I'd get the whole alphabet," she says. "I got the first one (j) on a whim, then the next few (g, a, q) without thinking much about it. … It's the most uneconomical way of getting tattooed ever. You pay by the hour, and these little letters take about seven minutes each."

    Check out all 21 over at Creative Bloq, which has links to all the tattoo artists as well.

    Via Design Taxi.


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