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Breaking News in Advertising, Media and Technology

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    If summer is the season of casual, short-lived romances and flirty hookups, maybe winter is the season of serious dating and questions like, "We've only been together for three weeks. Is a gift card too impersonal of a Christmas gift?"

    Indeed, says two Manhattan women who turned to Craigslist to summon applications for "fall boyfriends."

    The ad offers zero information about the women besides smart/funny/attractive. But with guidelines for applicants like "Probs spent at least 4 weekends in Montauk over the summer" and "Ivy league preferred. Def in a frat or played a sport," we can conclude they're those girls at the bar who laugh really loud to show everyone that they've got great senses of humor (read: intensely annoying).

    It's another addition to the list of notable Craigslist ads ("Looking for boys we might be able to stand being sober around" is kind of funny), and a nice little read, if two of your hobbies listed on LinkedIn include cringing and getting a mild headache.

    And for every person who says "This is satire!" there are probably several who think this ad is perfection and are firing up their Craigslist accounts right now. The post has been flagged for removal, but hopefully not before they found two chill bros for Sunday Fundays.

    Full text of the ad below. Photo via.

    Seeking Fall Boyfriends

    2 smart, funny, attractive girls each looking for a fall boyfriend with chill group of bro friends, now is the time you must start dating someone in order to spend the holidays together/go on ski trips/have a NYE kiss you're stoked on.

    Labor Day has happened, we are saying goodbye and filtering out our casual summer, meet up at 2 a.m. hook ups and are looking for boys we might be able to stand being sober around.

    Needed: 2 males interested in something steady/serious-ish as the weather fades from hot, humid, and care-free to crisp, chill Patagonia vest season. Interested parties should have a window in their bedroom and want to cuddle with the window slightly open to let the fresh autumn air in while a fall scented candle (that I'll buy for you, babe) fills the room with cozy comfort.


    Chill group of guy friends (preference will be given to bros who come from the same group of friends, just because that makes it easier and more fun for double date brunching)

    27 and older

    6 feet or taller (if you're 5'11" but have a personality to make up for the height difference, willing to consider it. Any shorter? Don't apply.)

    Wardrobe should include: Driving mocs, Barbour coat, Half-Zips (at least 3, please send pics if possible), Ray-Bans (Wayfarers or Clubmastesr preferred, but open to other styles), loafers, Patagonia vest(s), Vineyard Vines, basketball shorts for me to sleep in

    College education. Ivy league preferred. Def in a frat or played a sport (lacrosse, crew, tennis, etc.)

    Probs spent at least 4 weekends in Montauk over the summer

    Activities can include but are not limited to

    Apple Picking

    Sunday Fundays

    Borrowing your pullover and returning it after an indecent amount of time, if at all

    Taking selfies in Patagonia vests/taking selfies while doing all activities #fall #boyfriendweather

    Watching football (aka me getting drunk while you watch football, and you thinking it's so adorable when I wear jeans and Converse to the bar and get blackout in your team's hat.) *sneakers show how chill and laid back I am < this is why it's kinda essential for the two boys to be friends so me and my friend can blackout together and I won't get bored.

    Cooking - Instagramming dish with captions such as "Fall night with my babe @yourhandle *heart emoji all the fall emojis*"

    Brunching outdoors until weather permits

    Strange how the night moves, with autumn closing in

    (If you don't know that song, don't apply)

    Looking forward to meeting you!

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    When I was a kid, my sister and I would play a car game where we would hold our breath in the back of our parents' minivan every time we went into a tunnel—and see who could hold it longer. Our faces would turn red, and then blue, as we hurtled toward the distant light—seeing if we could make it to the end without passing out.

    As we got older, we would just pretend to hold our breath, but we'd still writhe around and grasp at our throats with our cheeks puffed out like Louis Armstrong. And we'd always make it, heroically, back into the sunlight.

    Which brings us to this ad from Finland and agency Havas Worldwide, with a boy holding his breath longer and longer in each scene. We won't spoil it, but the ending isn't exactly the light at the end of the tunnel. 

    Via Ads of the World.

    Agency: Havas Worldwide, Helsinki, Finland
    Creative Director: Marko Vuorensola
    Planner: Johanna Vuorensola
    Art Director: Jon Gustavson
    Copywriter: Marko Vuorinen
    Account director: Nina Myllyharju
    Project planner: Muusa Salminen
    Communications Consultant: Laura Lyyvuo
    Web Developer: Mika Niemi
    Production Company: Studio Arkadena
    Executive producer: Hana Kovic
    Director: Mikko / Sauna International
    Director's Producer: Kojo Abban
    DoP: Jure Verovsek
    Editor: Simon Sedmak
    1st AD: Sara Isa Djukanovic
    Colorist: NuFrame/TeoRiznar
    Line producer: Urska Vardijan
    Set designer / Art director: Spela Kropusek
    Stylist: Katja Hrobat
    Make Up: Natasa Sevcnikar
    Sound design: Silencio Helsinki
    Music: Accu “Rock”
    Digital production: Havas Worldwide Helsinki

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    Toward the end of a tough week for the league, Lowe's will break a new NFL campaign, themed "Make your football self happy," during Thursday's CBS telecast of the Baltimore Ravens game against the Pittsburgh Steelers.

    Four humorous spots from BBDO New York show men and women being urged by their inner pigskin selves to get their home improvement projects done—so they'll be free to watch pro football on Sunday.

    The well-acted ads are aimed at men and women. Indeed, the best of the bunch shows a woman berating herself to get her gardening done in time for kickoff.

    Lowe's pockets a huge chunk of its sales volume on weekends, when do-it-yourselfers finally catch up around the house, according to CMO Tom Lamb.

    "For us, it's an angel on the shoulder reminding the consumer that football and home improvement can nicely co-exist—if they get off the couch early and get into Lowe's," he said.

    Lowe's has a big advertising commitment to CBS's new Thursday night package, also serving as a presenting sponsor of the network's pre-game show.

    Of course, neither Lowe's nor BBDO had any idea the Ray Rice story—his contract was terminated by the Ravens after video emerged of him knocking his then-girlfriend out cold—would explode this week. Still, does Lamb think it's wise to go for the funny bone on an NFL telecast when the league's approach to domestic violence is under fire?

    The campaign is about football fans, Lamb replied, not the league or one single club.

    "The ads, and the fun, and the humor, and the enjoyment of what we're trying to portray, is really for the fans," he said. "Everything we've done in testing, and pre-testing, is showing that our fans, and homeowners in general, really enjoy the spots."

    Client: Lowe's
    Spots: "Thank You," "Snack," "Pep Talk" and "Early Start"
    Agency: BBDO New York
    Chief Creative Officer, Worldwide: David Lubars
    Chief Creative Officer, New York: Greg Hahn
    Executive Creative Director: Lauren Connolly
    Executive Creative Director: Tim Bayne
    Creative Director: Molly Adler
    Creative Director: Mike Sweeney
    Art Director/Copywriter: Matt Vescovo
    Senior Producer: Melissa Bemis
    Head of Music Production: Rani Vaz
    Senior Account Director: Jim Reath
    Senior Account Director: Bob Estrada
    Account Director: Heather Linde
    Account Manager: Shippey Lewallen
    Account Executive: Amanda Burnett
    Group Director, Behavioral Planning: Annemarie Norris
    Production Company: Epoch
    Director: Michael Downing
    Director of Photography: Toby Irwin
    Edit House: Mackenzie Cutler
    Editor ("Snack," "Thank You," "Early Start"): Ian Makenzie
    Editor ("Pep Talk"): Nick Divers
    Visual Effects House: The Mill

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    Anyone who knows Jim Riswold knows he has a bit of a Hitler obsession—or more specifically, an obsession with making the Nazi leader look stupid through art. Speaking to Vice in 2011, the legendary Wieden + Kennedy copywriter explained:

    "Bad guys don't mind being called bad guys. But bad guys don't like to be laughed at. I have always thought humour could diffuse fears and deflate even the most evil of egos. Voltaire said, 'I have never made but one prayer to God, a very short one: "O Lord, make my enemies ridiculous." And God granted it.' I made Hitler look ridiculous. Hitler is ridiculous. But please don't tell him I said so."

    Now, Riswold gets to show off some of his Hitler work in a new documentary called Meet the Hitlers. Directed by Tool's Matt Ogens (who also created the acclaimed doc Confessions of a Superhero), the film explores people named Hitler or related to Hitler, and how keeping that name has molded their lives.

    As part of the film, Ogens profiles Riswold, who documents Nazi-themed objects as a way of disarming the hatred and making fun of the consumer culture behind Nazis and Hitler. Check out a scene from the documentary here:

    Meet the Hitlers is also launching a digital campaign that includes whatsinaname.me (created by Trust), which looks at many people with absurd names (including some named Hitler from the movie) and how those names helped to shape their lives.

    Soon, an interactive experience at meetthehitlers.com will allow users to experience what it might be like if their last name were Hitler.

    Here's the trailer for Meet the Hitlers:

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    Attention, dads. If you take a nap instead of reading with your son, he will grow up to be the kind of illiterate, all-around failure who gets misspelled tattoos about having no "ragrets."

    At least, that's the moral of a new PSA from charity Save the Children U.K.—done in a similar style (and in fact by the same agency, Don't Panic) as the group's brutal March PSA about kids in Syria.

    Here, a neglected kid, Jack, is ultimately unable to hold down a job, or a relationship, or simply to function in the most basic ways. It's the kind of nightmare scenario that should spur any parent with half a brain into carving out some sacred story time with their offspring, stat.

    It might seem a little hyperbolic, or like it eventually descends into black comedy. But stick with it to the end to understand why the extreme presentation (and accompanying touch of levity) ends up being appropriate, and makes a weighty topic easier to digest (even if it lacks the storybook-and-celebrity-menagerie quirkiness of one other approach to the genre).

    The choice of book, Jeff Kinney's Diary of a Wimpy Kid, is a pretty excellent fit for the message, subtly reinforcing the importance of literacy in helping a child make sense of a fundamentally social and not always friendly world, while also framing the kid in question as in particular need of attention from his pops.

    Hopefully, though, Jack doesn't grow up to get a tattoo that says "No regrets," either.

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    The KFC toasted burrito is all about getting more from your lunch break. Like, say, meeting, courting and marrying the love of your life.

    In a new spot from BBH London, the chain's fried chicken wrap helps nudge a geeky workaday guy toward finding the woman of his dreams. What happens next is likely best interpreted as a brief fantasy about how much can happen in a mere hour.

    Directed by Rattling Stick's Sara Dunlop, the spot is reminiscent of her earlier bit of excellent and brief storytelling, Vodafone's "The Wait." It helps that the two spots also share a similar soundtrack, with KFC using "Where I Fell in Love" from doo-wop group the Capris and Vodafone featuring a cover of Dusty Springfield's "Wishin' and Hopin'."  

    Setting aside the question of exactly how a chicken burrito sets such a scenario into motion, the spot deserves credit for cramming more rom-com into 60 seconds than Hollywood usually can in 90 minutes. 500 Days of Summer? Just watch this instead.

    Client: KFC
    Chief Marketing Officer: David Timm
    Marketing Manager: Grant MacPhearson
    Brand Manager: Jocelyn Bynoe
    Agency: Bartle Bogle Hegarty
    Creative Director: Hamish Pinnell
    Creatives: Charlene Chandasekaran, Dan Morris
    TV Producer: Jodie Sibson
    Team Director: Leo Sloley
    Team Manager: Helen Campbell-Borton
    Production Company: Rattling Stick
    Director: Sara Dunlop
    Producer: Stuart Bentham
    Director of Photography: Nanu Segal
    Stylist: Nick Foley-Oates
    Editor: Art Jones, Work Post
    Postproduction: The Mill
    Visual Effects Producer: Rachel Stones
    Colorist: James Bamford
    Matte Painting: Jiyoung Lee, Can Y Sanalan
    2-D Lead Artist: Chris Scott

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    Last month, a video of a 5-year-old went viral (15 million views and counting) after a local news station interviewed him at Pennsylvania's Wayne County Fair. Noah Ritter's raspy voice, cute little kid face and persistent usage of the word "apparently" landed him Internet notoriety. And then it landed him a job.

    Fresh Pet hired him for what's apparently (sorry!) his first commercial. (He says so himself, in fact.) At two minutes, it's about 90 seconds too long, and it's peppered with little boy humor (of course a 5-year-old would comment on the digestive functions of a dog) and waggy-tailed canines.

    Still, good for him. It's 13 years until college, Noah. Here's hoping Fresh Pet loaded up a 529 just for you.

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    Cats are very sensitive. And when you apply sticky tape to them, they tend to walk funny. Just like when your pad won't stay in place and decides to adhere to your crotch.

    Ogilvy & Mather Shanghai created a viral hit for Kotex around the truth that no cat of any persuasion likes sticky tape. An entire spot starring super fluffy cats filmed in slow motion looking uncomfortable and walking sideways? It's no wonder it's already attracted over 1 million views in China (not on the subtitles version below, though, of course).

    The brand has another spot that suggests it's easier to find a good pad than a good man. (Well, yeah—you can buy pads at the store.)

    Kudos to Ogilvy for coming up with an adorable cat spot that also has an actual product benefit included amid the cute. And don't worry, no cats were harmed in the making. They were just made very uncomfortable.

    Client: Kimberly-Clark
    Project Title: Kotex Brand Promise Viral Campaign
    Creative Agency: Ogilvy & Mather, Shanghai
    Chief Creative Officer: Graham Fink
    Head of Copy: Thomas Zhu
    Creative Director: Bamboo Zhuang
    Group Head: Yaya Wu
    Senior copywriter: Kiddy Wang
    Agency Producer: Xiaolong Wu
    Media Agency: Mindshare
    Production House: Shine Works

    0 0

    Because fried chicken is the greatest thing in the history of the world, and considering Japan is from the future, it's surprising they got their first KFC only 30 years ago.

    To celebrate that anniversary, the franchise is currently holding a contest on Facebook and Twitter with probably the most amazing prizes ever. OK, none of them are useful—but if you forget to lick your fingers, you'll be fine when using these wackadoodle chicken-themed accoutrements.

    KFC is known for doing odd stuff like this in the U.S., too, so we can't say we're surprised. 

    Via the International Business Times. 

    First prize is this insane-o keyboard with chicken pieces for keys and a little baby statue of the Colonel perched on the Escape key. 

    You could also win this chicken-leg mouse that looks more like a sex toy than a useable piece of computer hardware. 

    Speaking of weird crap that no one would ever plug into their USB port.

    Probably the best prize of all, chicken earrings. Gorgeous.

    0 0

    Jerome Jarre is sitting in the front row of this year’s MTV Video Music Awards, catching all the action and instantly turning it into content via the video sharing app Vine. For the big night, he labels himself “the VMA creeper,” recording the stars as they perform, his alternately grinning, grimacing face right there in the shot.

    Photos: Douglas Friedman; Styling: Alvaro Salazar/Agent Oliver.com; Grooming: Ingeborg/Opus Beauty using Dermalogica and Davines; squirrel: All Creatures Great And Small

    In one selfie-styled, six-second video, he seems bewildered, maybe a little afraid of a grinding Ariana Grande and her backup dancers. Another Vine features a towering Beyoncé onstage overhead, reacting to Jarre’s goofy expression. Fittingly, he titles this one “How to make Beyoncé giggle.”

    Jarre gets paid to do all this, something that would, naturally, be a dream job for any kid with a smartphone. MTV enlisted him for its marquee event to share these videos on his Vine account, which boasts an impressive 7.2 million followers. The going rate for one of his Vines is $25,000. He pulls down $35,000 for sending a single Snapchat message.

    Jarre has helped to transform the six-second looping video into an art form and a marketing vehicle. It all may look really easy, but it isn’t. Jarre has to measure every second, carefully inspect each frame, shoot and often reshoot what appear to be spontaneous moments. Six seconds can take as much as six hours of work. The result is Jarre’s unique blend of comedy, pranks and absurd vignettes—all in his distinctive French accent.

    Jarre’s Vine account is somewhat like a sketch comedy show, with recurring characters and jokes. You’ll find him interacting with strangers on the streets of New York, shouting randomly in crowded subways or on airplanes, talking to squirrels and homeless people, asking strangers for a kiss, joking with the police—and in all his videos, he’s sporting that signature smile.

    To say that Jarre has mastered the short-form medium doesn’t quite do his mass influence justice—and marketers have taken notice. In one Vine, Jarre recruits a group of people in a park to swarm a sunbather and lather him in Coppertone. On Gravity Day last year, General Electric put Jarre on a plane to film the first zero-gravity Vine.

    Jarre doesn’t work alone. His marketing firm, GrapeStory, has amassed dozens of similarly standout stars. Some create animated Vines, others are musicians, and still others are mommy Viners—all of them capitalizing on our social media obsession.

    Jarre, 23, was born in France and has had a transient existence ever since, living in China and Canada before moving to the U.S. in 2012. To learn English while in China, he would listen to the social media self-help guides of Gary Vaynerchuk, the well-known social media marketer and head of VaynerMedia, who would become Jarre’s mentor and eventually his business partner. (Vaynerchuk basically taught Jarre how to speak English.)

    Jarre sought out Vaynerchuk when he first arrived in New York. At the time, Jarre had no place to live, couch surfing thanks to the support of a circle of friends. He soon figured out a longer term solution.

    “When I arrived in New York, I was homeless with 400 bucks in my pocket,” he says. “For the first two weeks, I convinced one guy to let me sleep on the floor in his apartment, then I convinced Gary to create a company with me, 50-50 … and I didn’t tell him I was using the floor of his office to sleep for six months.” Now, Jarre hangs out with celebrities like Robert De Niro, Pharrell Williams and Aaron Paul, all of whom have appeared in his Vines—as if anyone needed convincing that this is a platform whose time has arrived.

    “You’re seeing this space heat up right now,” says Jordan Bitterman, chief strategy officer of the agency Mindshare. “The content is shorter form, snackable, shareable, fun, informative ... and brands want to get involved in that because creating a six-second Vine, in almost every single case, is far less expensive than a premium spot for television but just as on brand.”

    General Electric is a prime example of how Vines have grown up. One might not immediately think of the global industrial giant as a force in social media, but the corporation has, in fact, become an early adopter, testing ad products like sponsored posts on Instagram and experimenting with Snapchat.

    “The audience of a lot of social platforms are the future business decision makers, those who might have a stake in the company some day,” says Sydney Lestrud, GE’s manager of global digital marketing. “We want to position ourselves as a brand that’s multifaceted and innovative in these areas. That’s an important goal for us.”

    When GE collaborated with Jarre on Gravity Day, the idea was to spark a user-generated Vine campaign that had the public submitting videos of themselves dropping an apple to recreate Sir Isaac Newton’s historic moment. “We looked for folks who already understood the platform,” says Lestrud. “Jerome has a great personality and presence.”

    More marketers like GE are seeking out voices that will lend instant credibility to their brands—and there’s no shortage of voices. Izea has even developed an automated platform through which social media users can pitch their influence to brands. Through this sort of matchmaker service, a marketer can find an Instagram user with a sizeable following and pay him or her to share content.

    'I convinced Gary to create a company with me... and didn't
    tell him I was using the floor of his office to sleep for six
    months.' | Jerome Jarre

    “There’s a hyper-fragmentation of media creation and media consumption,” says Izea CEO Ted Murphy. “That is driving brands to find different ways to connect with audiences.”

    Izea has inserted itself into deals with social media superstars like Kim Kardashian. “Whether it’s Vine video, Instagram or YouTube video, the question is, what works best for advertisers?” Murphy says. “Getting $25,000 for someone big on any one of those channels is definitely within the realm of possibility—you see those types of deals all the time with bigger celebrities. You’re talking six-figures for a single tweet. So there’s absolutely money to be made.”

    In the second quarter of this year, Izea brokered a total of $2.5 million in deals, a 40 percent year-over-year increase. Recently, the company launched a vertical focused on indie music acts with a social media following.

    In the fast-moving social space, there is, of course, always the next hot platform where marketers will need early influencers like Jarre to help them get a toehold. Jarre is already making the transition from Vine to the messaging app Snapchat—“not that I don’t like Vine anymore,” he is quick to explain. “I just see a huge growth happening.

    At this point, Snapchat is certainly a less predictable platform for marketers. Snapchat doesn’t provide the same support of Pinterest or Instagram, which offer basic feedback and analysis about audience and performance. But while metrics remain more of a guessing game on Snapchat, anecdotal evidence suggest that users are hooked. According to several marketers that use Snapchat, as many as 85 percent of a brand’s followers open their messages on the platform.

    Taco Bell, for one, says that most of its followers watch its messages in their entirety—even those that are minutes long via Snapchat Stories, which allow users to build long-form messages with photos and video.

    It is the longer form of Snapchat that has attracted social players like Jarre. His Snapchat messages run for 100 seconds, compared to just six seconds on Vine. Jarre recently launched a YouTube channel where he features only Snapchat Stories.

    Jarre joined Snapchat in his typical brash style. Two months ago, he showed up at the company’s headquarters in Venice Beach, Calif., in an attempt to get an audience with CEO Evan Spiegel. After tweeting from outside the Snapchat offices with the hashtag #jeromeinsnapchat, it became a trending topic—and, perhaps unsurprisingly, he was ushered right in for a meeting with Spiegel.>

    Jarre is now among the most popular Snapchatters, with 2 million followers. “It’s the craziest engagement I’ve ever seen on social media,” Jarre says.

    Some 1 million people see Jarre’s Snapchat messages within hours, he reports, while on Vine it can take days to build that kind of engagement. With that in mind, his company has landed social media personalities—among them, Shaun McBride (aka Shonduras)—who specialize in Snapchat.

    The big question: Can Jarre maintain his creative edge despite his success? When he was living on his friends’ couches, Jarre cranked out three Vines every day. Now, having become a businessman as well as a personality, he produces barely one per week. “When you wake up on a hard floor and take a cold shower,” he notes, “you are super hungry.”

    To remind him where he came from and to keep that hunger alive, he reveals, he still sleeps on the floor and takes cold showers sometimes.

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    This Samsung ad, which debuted over the weekend, teases the October release of its Galaxy Note 4—and also, more mercilessly, teases Apple for being late to the phablet game at its iPhone 6 event last week. 

    Called "Then and Now," the minute-long clip reminds viewers that Samsung was the first company to popularize larger-size handsets. To make its point, it presents snippets of dismissive reviews that followed the Galaxy Note's introduction nearly three years ago.

    Being first is all well and good, and perhaps the spot amuses/energizes die-hard Samsung geeks. Still, I doubt its gloating vibe resonates with a broader audience. Coming after last week's "It Doesn't Take a Genius" spots (ribbing Apple about its smartwatch and even the ragged quality of its live-event streaming), this spot feels like overkill.

    Such crowing makes Samsung look, well, small. And kind of silly, given that the iPhone 6 Plus sold out on the first day Apple started taking orders.

    Don't expect a counterpunch, though. Apple, of course, is bigger than that.

    0 0

    Who's someone you see every day, and often thank, but don't know by name?

    Coca-Cola thinks you should make up for being maybe a little rude to that person by buying him or her one of the brand's special bottles with names printed on them.

    A new ad from the Philippines shows people gushing about the not-quite-acquaintances who brighten their days, and have earned consistent nicknames: a driver called "bro," a grocery bagger called "kid," a security guard called "boss." Then the people sheepishly admit they have no clue what their fellow humans are actually called. Cue personalized Coca-Cola gifts—the clouds part, the sun shines, and everybody goes home happy.

    The three-minute commercial, created by McCann, is documentary-style, but filming true story lines would require some real logistical contortions, so more likely the whole thing is staged. (Did the brand put out a casting call for people who knew other people they liked but didn't really know them, and then embark on an elaborate stalking mission?)

    Regardless, it hardly matters. It's a nice bit of marketing as entertainment, meant to make people feel nice. It's what Coke often tries to do, and in this case, it seems to be working. The YouTube clip has some 900,000 views since being posted Thursday. And the comments include plenty of gushing praise. (At press time, there was only one obvious crack about diabetes.)

    The real question, though, is how people are supposed to actually find a bottle with the name of whoever it is they want to thank.

    Client: Coca-Cola
    Agency: McCann Worldgroup
    Director: Paolo Villaluna

    0 0

    How do you get people to stop for the "Don't walk" guy in the crosswalk? Make the "Don't walk" guy a little more interesting to look at.

    That's what Smart car did in Portugal, giving the icon more entertainment value by getting him to dance for his impatient audience. (This is achieved by seemingly unnecessary though I suppose charming high-tech means—the "Don't walk" guy imitates the moves of actual dancing humans in a booth nearby.)

    The "Walk" guy is really going to have to raise his game.

    Via The Denver Egotist.

    Client: Smart
    Agency: BBDO Germany
    Creative Directors: Lukas Liske, Daniel Schweinzer
    Director: Marten Persiel

    0 0

    GoDaddy has tried various things to break out of its reputation for sleaze. First, it kept the attractive women but added some geeky guys. Then it had an attractive woman make out with a geeky guy. Then it did a quirky ad with Jean-Claude Van Damme.

    Now, though, the brand is really just going for it with new agency Barton F. Graf 9000—the New York shop known for its offbeat ads for Kayak, Ragú and Dish Network.

    The ads start off like treacly testimonials, but quickly take a left turn. And before you know it, one woman is screaming at her dead father's ashes—while another is doing mildly obscene hip thrusts that go on uncomfortably long. (The focus remains on how the company supports small business owners with online tools to help create websites, get found online and keep businesses organized.)

    To its credit, GoDaddy isn't afraid to go full-on crazy here, as opposed to the Van Damme spot, which felt a bit self-conscious and manufactured. And Gerry Graf and friends have that knack for making ads that seem truly, memorably peculiar.

    "GoDaddy is an iconic brand, which makes this an exciting challenge and really, our team is much like a GoDaddy customer because we are a small agency with big ideas," Graf said in a statement. "GoDaddy has some innovative tools to help people who own their own business. I know this because I own my own business and I use GoDaddy's tools. We're going to let everybody else in the world in on this."

    GoDaddy CMO Barb Rechterman added: "We want to maintain our sense of humor while focusing on how GoDaddy's services empower customers … and do it in a creative ways that speak to the 'go getter' inside of so many entrepreneurs and small business owners out there looking for an edge. The Barton F. Graf team took a very strategic view of our brand and pitched innovative campaign ideas that were right on message … and had us all laughing."

    So, are you laughing, too?

    0 0

    Next time you open a can of Campbell’s—and, each year, over 2 billion of us do—say “Bon appétit” (yes, instead of “Mmm mmm good,” which is trademarked). After all, it was a Frenchman—the Paris-born Louis Charles DeLisle—who perfected the secret recipe for condensed tomato soup in 1902. Since then, Campbell’s tomato has become an indispensable fixture in American kitchens. More than a century since its introduction, and despite a gradual decline in soup consumption, Campbell’s is still among the top 10 grocery items that Americans buy.

    Why? As it turns out, this convenience food of yesteryear still fits pretty well into contemporary life. It’s cheap, fat free, and you can keep it on the shelf for a year (the intrepid say longer) and still eat it. It also hasn’t hurt that, ever since opening its in-house test kitchen in 1940, Campbell’s has kept up the marketing practice of suggesting various dishes that can be made with tomato soup once you’re tired of eating just tomato soup. A 1949 ad featured a recipe for a ham loaf blended with tomato soup and sour cream. Today, if you head over to the Campbell’s Kitchen Web page, you’ll find a recipe for Tomato Soup Spice Cupcakes.

    Not quite to your taste? It doesn’t matter. As Martyn Tipping, partner in brand consultancy TippingGardner, explains, Campbell’s Tomato has built up such credibility—in the kitchen and the culture—it endures based on reputation alone. “Warhol may have created the most timeless, well-known visualization of the Campbell’s soup can, but Campbell’s was already an icon long before Warhol put paint to canvas,” Tipping said. “Campbell’s soup transports us back to our childhood and reminds us of a time when a bowl of tomato soup and a grilled cheese sandwich was the height of fine dining. Mom showed us she loved us by serving Campbell’s soup, and we continue the tradition by serving Campbell’s to our children today—with organic sourdough croutons, of course.”

    Now, a word about that famous red and white label. Campbell’s kept it mostly unchanged from 1898 until a major redesign in 1999. In 2010, Campbell’s hired no fewer than three neuromarketing firms to test new label designs using techniques like micro facial expression analysis.

    Aware the younger consumers don’t eat soup as often as their parents, the company has also introduced Campbell’s Go, which is soup in a bag. A bag? Well, purists will always see red, at least in the form of that famous, 10.5-ounce can. The standard. The one mom opened up, and the one that you—starving student, working mom, single guy who can’t cook—still do.

    1. How’s it managed to stick around this long?
    Way before the age of convenience foods, Campbell’s was a pioneer of showing homemakers that its Tomato Soup was a time-saver that could be used in many dishes. Plus, it’s cheap.

    2. Why did Andy Warhol paint a can of Tomato Soup?
    “Because I used to drink it,” the artist said. “I used to have the same lunch every day, for 20 years.” Warhol was famous for turning the prosaic into the profound, and one day in 1962, he silk-screened a can of Tomato Soup. When Christie’s last sold the 16-by-20-inch canvas in 2010, it fetched $9 million.

    3. Where do all those tomatoes come from, anyway?
    In the old days, Campbell’s trucked tomatoes grown by South Jersey farmers right up to its Camden, N.J., plant to put into the soup, but ended the practice in 1979. These days, industrial growers in California send in their harvests.

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    Sit back and take four minutes to watch this lovely ad by Pampers Japan.

    Titled "Mom's First Birthday," it celebrates a big milestone in a new mom's life—her baby's one-year checkup. The brand partnered with some dads to surprise some moms, and the result is sweet and heartwarming.

    What really thaws my cold, hard heart is how earnest everyone seems (I know it's a commercial; let me live my life). All these moms have just spent the past year sacrificing sleep and sanity, dealing with uncertainties and fears, and when they walk out of that milestone doctor appointment, well … I don't want to spoil it for you.

    Click for subtitles unless you're fluent in Japanese.

    Client: Pampers
    Agency: Leo Burnett Tokyo/Beacon Communications

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    The world's largest furniture retailer by sales doesn't even put most of its products together. Yes, Ikea has built an enormous business—and a beloved brand—around making the annoying and time-consuming task of doing it yourself cool.

    Founded in Sweden in 1943, the company now has more than 350 stores in 45 countries (the U.S. has 40 stores). With its appealing and affordable designs, it's no wonder Ikea furniture is ubiquitous in twentysomethings' apartments and college students' dorm rooms.

    But cheap and chic gets you only so far. That's where the kooky sweet spot that Ikea has found with its marketing comes in. All over the world, the retailer takes what could be just goofy ideas and makes them memorable—whether it's turning a billboard into a climbing wall or making a cheeky dig at self-important tech companies.

    And its growing social footprint brings design ideas vividly to life, too.

    Social Media Profile (Ikea USA only, as of 9/16/14)
    Facebook Likes:4.2 million
    Twitter Followers: 291,026
    Instagram Followers: 81,541
    Pinterest Followers: 157,124

    While the brand offers home tips in all social channels, the best one to follow may be its Instagram, which shows possible projects and side-by-side before and after photos. The brand could stand to cut back on the hashtags, though. (The caption for the photo above read: "The #IKEAHomeTour Squad helped this family create a #comfortable, multi-use #livingroom, complete with space for #work, play and #storage! Watch the new #makeover here: IKEA-USA.com/hometour.")

    Recent Advertising

    While much of the brand's marketing can be zany, Ikea USA knows when to offer heartfelt comfort to families, as in the spot above. 

    The CMO's Philosophy

    "I challenge myself and my team to be anthropological marketers, listening to customers and providing solutions to their challenges," said Leontyne Green Sykes, chief marketing officer of Ikea North America. "Marketing is fundamentally about creating demand for an idea, concept or product, but it must begin with understanding what the target is looking for—then you can present your offering in a way that creates energy, interest, engagement and, ultimately, trial."

    Fast Facts

    • Ikea prints around 200 million copies of its catalog every year in 27 languages for 38 countries. That's more than twice the number of Bibles produced in a given year.
    • Ikea uses almost 1 percent of the world's commercial wood supply each year to make its furniture.
    • Ikea sells about 150 million meatballs a year in its store cafeterias. And its food division, with nearly $2 billion in annual revenue, rivals Panera and Arby's in size.
    • The company is technically part of a Dutch charity, Stichting Ingka Foundation, which administers the Ikea stores though Ingka Holdings, a subsidiary that operates as a for-profit entity.
    • Yellow block letters on top of a cobalt blue background are uniquely distinct to Ikea. But it wasn't always that way. The company had a variety of logos before it landed, in 1983, on yellow and blue. 
    • In 2012, the company began selling its own lager deemed Öl Mörk Lager.

    Brand of the Day is a new daily feature on Adweek.com. To submit a brand for consideration, contact Kristina.Monllos@adweek.com.

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    You can be proud of your ads. But reenacting them in real life? That can get awkward.

    Carlos Moreno, though, takes one for the team in the video below—a promo for the Bessies, which is a big ad awards show in Canada. The executive creative director at BBDO Toronto masterminded the weird Skittles Touch ads back in 2011, and here he reenacts the famous one with the cat—complete with eager licking of the screen.

    The line at the end explains everything.

    Though Moreno works at BBDO, the Bessies spot was actually done by JWT Canada.

    Credits below.

    Client: TVB
    Agency: JWT Canada
    Chief Creative and Integration Officer: Brent Choi
    Creative Director: Ryan Spelliscy
    Art Director: Denise Cole
    Copywriter: Saro Ghazarian
    Account Lead: Dori Applebaum
    Producer: Andrew Schulze
    Production: Axyz
    Sound: Eggplant
    Talent: Carlos Moreno

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    IDEA: People in bars like to talk, especially when whiskey, preferably in copious amounts, has been consumed. Often, the stories are even about whiskey, insofar as it precipitated some memorable (though, often as not, half-forgotten) after-hours adventure in the hazy past.

    For Jack Daniel's—which prides itself on its own rich, genuine brand story—it made sense, then, to collect real tales from real bars for a new campaign, presented on an evocative website, titled Tales of Mischief, Revelry and Whiskey, that serves as its own virtual gathering place.

    "Storytelling is at the heart of the Jack Daniel's brand," said client brand director Laura Petry. "Everyone loves a good bar story. I do. You do. Your mom probably does, too. It's a shared experience and part of the reason we all go to bars in the first place. A great story is the trophy of a great night out. So it made sense to document and share these great stories with the world."

    COPYWRITING: There are seven videos, along with 11 audio stories and six written stories. "We didn't script any of them," Petry said. "These stories are all 100 percent real, told by real people in their own words."

    It's all here—stories of life, love, death, music, bouncers, animals, ducksitting and much more. The agency and brand spent two months finding the stories, first going to great bars they already knew—and then being directed to others.

    "It became a countrywide game of telephone, with people telling us to talk to this guy or that girl," said Petry. "Ultimately, we probably heard about a thousand stories. And we picked the best ones for the site."

    The brand appears in some tales, but not all. "We weren't going to force it," Petry said. "But we found that Jack was naturally a part of a lot of the stories, which is largely why this campaign felt so right for the brand."

    FILMING/ART DIRECTION: Joe Roberts filmed the spots in June and July in Atlanta, New York, Los Angeles, Las Vegas and New Orleans.

    As documentary work, it required building trust with the subjects. "Honest storytelling is an intimate thing, so after we tracked down a number of potential stories, we had to establish a rapport with the bar owners, regulars, bouncers and 'that guy over by the jukebox,' " said Petry.

    The art direction is painstakingly detailed in everything from the color grading to the hand-drawn story titles to the subtle animation in each rollover.

    TALENT: "Some of our storytellers were naturals—great personalities with an enthusiastic delivery. They are the ones that ended up being featured in the videos," said Petry. Others were less comfortable, and did audio or written versions.

    SOUND: The site's homepage has a bar atmosphere, with hushed chatter and glasses clinking softly in the background. "Within each audio story, you'll also hear an approach to the sound design similar to a podcast or NPR story," said Petry. "We really wanted to use sound to add another dimension to the site and really bring the stories to life."

    MEDIA: The site is loosely organized to mirror the sense of anticipation and intrigue you might feel when you enter a new bar.

    Rather than a grid, it offers "a series of graphic vignettes that softly fade into the darkness, revealing their stories upon cursor interaction with additional sound design and cinemagraph movement," Petry said. "We wanted to create a mixed-media collage; something that users could truly get lost in. While certainly not a first in Web design, it is a different approach to merging art and function."


    Client: Jack Daniel’s
    Agency: Arnold Worldwide
    Executive Creative Directors: Wade Devers and Pete Johnson
    Group Creative Director: Erik Enberg
    Creative Directors: Travis Robertson and Greg Almeida
    Art Directors: Travis Robertson and Daran Brossard
    Copywriters: Greg Almeida and Madhu Kalyanaraman
    Producers: Todd Buffum and Ben Ouellette
    Arnold Audio Assistant: Nick Citrone
    Backend Developer: MediaMonks
    UI Developers: MediaMonks
    UX Architect: Andy Dobbs
    Planners: Kieron Monahan and Emily Brown
    Quality Assurance Manager: Nate Read
    Marketing Producers: Paul Nelson, Emily Brooks and Michelle Dravis
    Business Affairs: Maria Rougvie
    Production Company: MediaMonks
    Creative Director: Jouke Vuurmans
    Director: Joe Roberts
    DP: Job Kraaijeveld
    Producers: Nathalie Visser and Tim Ruiters

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    After an inexplicable quite period, we have a resurgence of giant ears in advertising, thanks to this incredibly silly McKinney campaign for Sennheiser's Urbanite headphones.

    A scraggly-bearded guy with a German accent (the brand's from Germany) who calls himself "the Urbanite" dons a headphone costume and gets romantic with … a giant ear.

    "Unt no pleasure is verboten," he explains in a 90-second introductory spot that shows tender caresses, a sensual oil massage and a candle-lit bath. The tagline is, "Let your ears be loved," and the salient product benefit—that Urbanite headphones lovingly pamper your ears, providing an incredibly enjoyable listening experience—resonates with crystal clarity.

    Giant ears skateboard through a park and hang out in bars in a second video promoting a New York City scavenger hunt. Our smitten hero finds them "erotish." (Thankfully, he doesn't whip out the giant swab.) Through this Sunday, folks who find one of 1,000 golden ears secreted around town will receive free headphones.

    The self-consciously wacky approach is designed to get away from technical descriptions and focus on real-world benefits to appeal to millennials, client exec Stefanie Reichert tells MediaPost. It recalls ESPN Radio's hideously overgrown anthropomorphic ear from a few years back, and follows closely behind this exceedingly abnormal spot for Normal's 3-D printed earphones.

    In Sennheiser's spots, the theatrical black backgrounds and minimal props enhance the inspired lunacy. Amusingly daft and highly sharable, the work speaks volumes about the brand proposition, and I hope we'll hear more from the Urbanite soon.


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